View allAll Photos Tagged alienation
"The Scream of the Perpetual Walker" portrays a lone man endlessly wandering the streets of Milton Keynes, his ceaseless journey symbolising existential angst and isolation.
The man's purposeless wandering is like a silent scream, a physical manifestation of inner turmoil. His directionless journey reflects the human condition - the search for meaning in an indifferent universe. The photograph's stark contrast and blurred background emphasise his isolation and detachment from the surrounding world.
The urban setting, with its commercial elements and indifferent crowds, further highlights the man's alienation from societal norms and values. The KFC advertisement in the background serves as a commentary on consumerism and the superficiality of modern life, contrasting sharply with the man's existential quest.
The blurred figures in the background suggest a world moving on, indifferent to the man's presence and plight. The repetitive architecture and monotonous landscape symbolise the routine and mechanical aspects of urban life, which the man seems disconnected from, emphasising his lack of purpose and direction.
The photograph draws parallels to Munch's "The Scream," evoking themes of existentialism, expressionism, and humanism. It captures a fleeting moment in the walker's endless journey, emphasising the impermanence of time and the ongoing passage of life. Despite his purposeless wandering, the photograph gives significance to his journey, acknowledging his humanity and the intrinsic value of his individual experience.
In essence, "The Scream of the Perpetual Walker" is a poignant representation of the universal human condition - the search for purpose in an indifferent world. The photograph's stark simplicity and powerful imagery, invite viewers to contemplate the complexities of existence and the isolation of the individual in a modern society.
Descend atop soul sanity mask in madness
From above heaven whose eyes within see
Beyond shores existence laid me
Burying me in ere twain
Gusting world mine to world hers
Up on thoughts, string illusoriness
That separates’ from us you
And yet makes special, unique, different’ disease
Whereon shame appears to dearest
Nor disappears aloofness
Some trade life worthy not exchange
Which fates gift up on lowly
Fashioning life on path mystery
That rose on desert air rejoice in comparison
The streak life in death
In clamors unknown, made’ only my notice
That leaves muttering to yours lips
The bind ye little gods, with power over shoulders weakened
And in clatters picks paleness over beauty
Ignored the within, letting it wither perish
Conflicting thoughts, utterances
Listening fragile, mind busy
Above lamentations eyes blinks
Away freedom from shame, with wings vulnerability
And yet price expensive as sink into clumsy alienation
As trailing moving ants smiles rewinds reminds
Of remains memories, and of its blankness
Leaving in shores unwrapped, uncovered
Leaving not a cord of reasoning
Which, what I with heart half, ripped soul, aging body?
What not if empty not?
Like red rose tossing winds wild, with fragrance lost
Of blooming style, wearied and sucked of blood
Like it, my heart ends
Of trees heartbeat I hear,
Of leaves veins I feel
Towards stars, I see wires
And root neurons
When again the commune of breeze
Or the romantic touch of night sun
Or sight the noon star, the night rainbow
When again, lesser be all afore
Let it the voice heard in the herds bleat
Let it the voice noticed in bees buzzes, in chirping birds
With clouds whispering me before it pours
And road telling where it goes
Night revealing it journeys as day
With love gossiping of coming hatred, disgust
And deeds, of rewards, sows, of harvest
With door telling where it passes
And babies, who they be
Have not you the words spoken?
That still fetters my ankles keep
That still locked between walls I
That I prepare for fallen night,
With garments sleeps I as I journey
For dreams sometimes of mourn, often to merry
If this, mirror held sway as I slumbers lumber.
I the might not of madness but fondness
Trickle, tinkles seconds away flips
As curtains a close draw
With theme, plot, setting absent
For even life mystery webbed reality
Through overgrown state journeys eternal
Beneath wordless voice perceive
The whimpers, whispering souls
Summer is a halfway already... how time flies, technology evolving at an unbelievable pace, it was never easier to communicate, all is faster, not fast enough, call me, text me, skype me, email me... and yet more and more lonely people, alienation, families dispersed...
TIME TO SMELL THE ROSES...
A white bloom and a 'Fire&Ice' bud.
Both from our garden.
Wishing you well, and thank you, M, (*_*)
For more: www.indigo2photography.com
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
roses, two, bud, bloom, white, red, "fire and ice", "Cherry parfait", "black background", colour, studio, square, design, "Magda indigo"
The Selkies Call
Selkie mythology, much like existentialist philosophy, grapples with profound questions of identity, freedom, alienation, and the ongoing search for meaning. Selkies, embodying a dual nature that forces them to exist between two worlds, directly confronts the existentialist struggle to find authenticity and reconcile their place in a world that imposes societal expectations. Moreover, these creatures' ability to reclaim their seal skins becomes a powerful metaphor for the existential emphasis on individual freedom and the necessity of autonomous choice in a world devoid of certainty. Yet, as beings caught between the human and animal realms, selkies experience profound feelings of alienation and displacement, mirroring the existentialist exploration of isolation and the longing for connection in a vast and seemingly indifferent world. The rich symbolism inherent in the Selkie myth—their longing for the sea, their struggles with belonging—mirrors expressionism's use of symbolic imagery and allegory to convey deeper truths about the human condition.
From the outside it looks very ordinary except for the very small windows. You don't even really notice thew row of small holes all around the building until you see them from the inside. Those are rifle shooting positions and intended for protection against Maori attack.
The Cameron Blockhouse is a rare example of a timber blockhouse dating to the time of the New Zealand Wars. John Cameron arrived in New Zealand at the end of 1840 and shortly after journeyed north to take up land at Marangai just south of Wanganui. At Marangai Cameron eventually set up a farm mainly breeding cattle, and in 1855 he built the first homestead. With the outbreak of hostilities between Maori and the Crown in Taranaki in 1862-1863, volunteer military units were formed in Wanganui. Cameron, taking the rank of Captain, organised a cavalry unit, which took the name Wanganui Cavalry. By 1868 Wanganui's settlers believed that an attack by Riwha Titokowaru (? -1888), the highly effective Maori warrior and leader who campaigned against Crown alienation of Maori land, was a real possibility. As a result, this blockhouse was built to provide a safe place for settlers and their families if they were under attack.
The Cameron Blockhouse was one of a number of redoubts built on high ground in the district. As an innovative method of protecting against bullets and fire the walls were packed with clay. The blockhouse was positioned in such a way that the people inside could signal to two other blockhouses belonging to the Campbell and Morgan families, who could in turn relay messages to the York Stockade in Wanganui. The Cameron Blockhouse never actually came under attack. Over the years the blockhouse was modified use as a farm building, including the removal of the east wall. This was later reinstated in the 1970s. Between 1988 and 1990 the Wanganui branch committee of the New Zealand Historic Places Trust and other volunteers undertook to restore the blockhouse.
The building has great historical significance as a privately constructed, purpose-built blockhouse. It represents a social and cultural attitude toward racial conflict and war. It is located in a dramatic setting and has considerable landscape significance. The building has technological interest for the use of readily available materials to create a protective layer in the building's defence. The blockhouse was built in 1868 and thus has significance as an archaeological site. In February 1996 a Heritage Covenant was placed on the property. The blockhouse is open to the public. www.heritage.org.nz/list-details/7179/Cameron%20Blockhouse
ALIENATED by Adwehe, the December 2024 exhibition @ Nitroglobus main hall.
Adwehe returns to the gallery with an introspective collection that explores feelings of estrangement in the face of a rapidly shifting world. Drawing inspiration from the global socio-political landscape, Adwehe’s work reflects on themes such as the upheaval in Western political movements, the persistence of global conflicts, and the dramatic evolution of societal norms. Her art serves as a poignant response to these sweeping changes, offering a personal view into the alienation and disconnection many of us feel in these turbulent times.
Visitors can expect a vibrant and heartfelt presentation that not only showcases Adwehe's multi talent but also sparks meaningful reflection on the state of the world today.
See you @ the gallery
dido
Sincere thanks to David Silence, who as always created the professional poster, based on an image of Adwehe.
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Opening party: Monday 2 December, 12 PM SLT
Music by DJ Kastor
LM: maps.secondlife.com/secondlife/Sunshine%20Homestead/38/22...
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Description of the artist:
In this exhibition, I attempt to touch on some of the darker sides of what technology has brought us in recent decades. Even with all the benefits it brings, social media and AI continue to cast an ever-growing darker shadow over society and the world, leading to division, destabilization, exploitation, and alienation.
The title of the exhibition also reflects my own feelings of alienation from the creation of more images, in the context of the unimaginable amounts of images produced every day. I embarked on a journey using only SL and the EEP sky options in the viewer to slowly delve into these feelings of alienation, drifting through the stories of our time.
Nuance and greyscale are not popular these days, its all black and white, a one second attention span, no thinking needed, all subtlety and depth erased.
I just want to be reborn, again and again, in beautiful vibrant colors.
Grayscales... translated into vibrant color.
Adwehe
Summer is a distant memory... how time flies, another new year upon us, technology evolving at an unbelievable pace, it was never easier to communicate, all is faster, not fast enough, call me, text me, skype me, email me... and yet more and more lonely people, alienation, families dispersed...
ESPECIALLY THIS YEAR!
We take the week between Christmas and New Year OFF!
Free to do only what we want!
Enjoy each other's company.
TIME TO SMELL THE ROSES...
Wishing you well, and thank you, M, (*_*)
For more: www.indigo2photography.com
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
roses, white, bouquet, "red ribbon", bow, flowers, Christmas, "black background", colours, studio, square, "Nikon D7000", "magda indigo"
18/52 Feathers/ Birds
Texture miss-alienation.deviantart.com/gallery/#/d2rs3ik
Inspired by wild goose chase with my own flare of course
Check me out in Moxee Magazine www.moxeemagazine.com/?p=81
with thanks to Breanna Rose check out her stream
For: The 52 Week Project (feathers/birds)
A temporary art installation inside 2 Pancras Square, King's Cross, London - taken at on a cold winter night through a plate-glass window - left me with a feeling of unease.
This photograph was triggered by a song, The Streets of London, that was released in 1969 by Ralph Mctell. It depicts the loneliness and alienation of the elderly, urban poor. Lyrics and commentary are widely available on the Internet and offer many different ways to think about and to appreciate. the song. Sadly the problem Mctell was protesting over 50 years ago has grown worse iin cities like mine
"When despair for the world grows in me
and I wake in the night at the least sound
in fear of what my life and my children's lives may be,
I go and lie down where the wood drake
rests in his beauty on the water, and the great heron feeds.
I come into the peace of wild things
who do not tax their lives with forethought
of grief. I come into the presence of still water.
And I feel above me the day-blind stars
waiting with their light. For a time
I rest in the grace of the world, and am free."
~Wendell Berry
The Peace of Wild Things
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Our Daily Challenge
ON THE WALL
Awards
~ **Love It!** Groups Photography Challenge Winner: Vanishing Point, August 2012 ~ *
www.flickr.com/groups/loveitgroups/discuss/72157627767972...
Valentines 2086 - The Transfiguration of Feelings by Daniel Arrhakis (2021)
With the music : Heart Shaped Leaf by Ursine Vulpine
youtu.be/hTsKUbU210A?list=RDGMEM6ijAnFTG9nX1G-kbWBUCJA
A creative futuristic romantic intriguing mood for 2068 ... when humans fall in love with the robots they created ... The Alienation of Reason through the Transfiguration of Feelings ...
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Work made with stock images from Pexels and images of mine.
VIEW LARGE HERE
Ever since I was a young boy, Edward Hopper's paintings mesmerized me. Later, when I found out he spent his life in my city, walked the same streets and painted New York City as only he could, I felt a specific bond to the man and his work. Without a doubt he is my biggest and most profound influence. When I shoot the streets of NYC I can see what he saw and what held his fascination; the people the buildings the light and geometry that all seem to fit together like some wondrous puzzle. Hopper took us down city streets and showed us people in their everyday lives and many times their alienation and separation from the throngs of people that could literally be just steps away from them. A big city can be like that. I name this one after Hopper's own 'Early Sunday Morning' as if this woman awoke in his painting, lit her cigarette, leaned out her window sill and watched another New York City morning being born. It's the stuff of dreams.
- SS
28.9.2017, Herr L, 21x30 cm, Tusche, Wasserfarben, Farbstifte auf Papier.
28.9.2017, Mr. L., 21x30 cm, ink, watercolors, colored pencils on paper.
Momentan zeige ich Zeichnungen von 2013, die ich kürzlich übermalt habe - erst fast normal, aber als drittes Bild eine Verfremdung, die ich mir ausgedacht habe mit surrealistischem Charakter als eine Überraschung.
At the moment, I'm showing drawings from 2013, which I recently painted - almost normal, but as a third picture an alienation, which I devised with surrealistic character as a surprise.
Image taken from a ferry approaching the city in the evening.
Post processing with Photoshop: First I made some HDR-type adjustments with the Camera Raw filter, then I created a layer with a vertical motion blur which I combined with the original image using the multiply-effect. Contrast, color balance and exposure of the layers were adjusted individually until I got the desired effect.
In case you are interested, here is the link to the picture I started with:
So I found this snail on my walkway today. Figured a photo op was in order as it was in decent lighting conditions. I used manual settings and manual focus with a wide aperture hence just the line of shadow from the snail. (Very thin focal plane). No editing, SOOC. As I was photographing it, I thought of living inside of a shell like this and how it connects to depression. I think the two are closely related. All darkness with a wall around you wondering if one should venture out of their security.
thirdeyetraveller.com/kiemo-galerija-best-street-art-in-k...
What is Kiemo Galerija or the Courtyard Gallery?
Kiemo Galerija, is a courtyard in Kaunas that has been transformed into an alternative art space.
Originally this was set up Vytenis Jakas with a few art pieces inspired by the Jewish residents that used to live here during the interwar period.
It challenged the idea of "home", whether it is a space with a lock and key or a community, and how modernisation has alienated societies and neighbours.
But, over time, the street art yard has expanded and invites local artisans and street artists from around the world to take part.
Walking inside Kiemo Galerija is almost like entering an alternate reality, where anything is possible.
Art Illusions, ghosts from the past, famous characters, colourful murals and protest pieces cover the walls making it an interactive creative space enjoyed by anyone who visits.
The history of Kiemo Gallery
The Kiemo Galerija was started by Vytenis Jakas who moved into the residential space above the courtyard.
He was annoyed about the lack of community spirit in the area. What used to be a thriving community of people who all knew each other, turned into residents living separate lives with a nod or a quick hello. It also was used as free parking and there was lots of litter that was taking up the area.
And, the project worked. Over time, it slowly eroded the alienation between them and brought the community together. To understand each other and make an effort to connect.
It also helped clean up the area and stopped so much rubbish from being dumped.
All text from :
thirdeyetraveller.com/kiemo-galerija-best-street-art-in-k...
Derelict and abandoned military and civilian vehicles are left in one of the vehicle graveyards around Pripyat. Their jobs done in helping with the disaster, they stand as empty monuments to lives lost...an echo to the past.
... Di quello che succede dietro le pesanti porte degli appartamenti, spesso se non sempre si avvertono solo quegli echi esplosi, quei brani, quei brandelli, quegli schizzi, quegli abbozzi, quegl'incidenti o accidenti che si svolgono in quelle che si chiamano le parti comuni, i piccoli rumori felpati che la passatoia di lana rossa attutisce, gli embrioni di vita comunitaria che sempre si fermano sul pianerottolo. Gli abitanti di uno stesso edificio vivono a pochi centimetri di distanza, separati da un semplice tramezzo, e condividono gli stessi spazi ripetuti di piano in piano, fanno gli stessi gesti nello stesso tempo, aprire il rubinetto, tirare la catena dello sciacquone, accendere la luce, preparare la tavola, qualche decina di esistenze simultanee che si ripetono da un piano all'altro, da un edificio all'altro, da una via all'altra...
Georges Perec, La vita istruzioni per l'uso