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"Making the simple complicated is commonplace; making the complicated simple, awesomely simple, that's creativity." ~ Charles Mingus - Jazz Bassist
Mar 3, 2026
CC Week 9: One Still, One Moving
CC Rainbow: Blue
(colors this month are Orange, Green, Blue, Yellow, Pink and Purple)
According to the challenge:
* The aim is to show calm and motion in the same frame, using blur to highlight the difference between the two.
* Any camera or device can be used, and the emphasis is on creativity and clarity of concept rather than technical skill.
* Or put simply: one thing stays still, one thing moves.
Creativity is something money cannot buy...
Taken in Tj Uma, Batam, one of the poorest regions of the Island.
13 Arch Bridge ; The bridge which was constructed during the British regime using surki construction, a period when cement was not in use… Thenmala, Kerala, India.
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Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
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Study of the day:
" [...] Pitié pour la viande! La viande n'est pas une chair morte, elle a gardé toutes les souffrances et pris sur soi toutes les couleurs de la chair vive. Tant de douleur convulsive et de vulnérabilité, mais aussi d'invention charmante, de couleur et d'acrobatie. Bacon ne dit pas "pitié pour les bêtes " mais plutôt tout homme qui souffre est de la viande. La viande est la zone commune de l'homme et de la bête, leur zone d'indiscernabilité, elle est ce "fait ", cet état même où le peintre s'identifie aux objets de son horreur ou de sa compassion. Le peintre est boucher certes, mais il est dans cette boucherie comme dans une église, avec la viande pour Crucifié. C'est seulement dans les boucheries que Bacon est un peintre religieux. ". [...]"
"[...] Pity for meat ! The meat is not a dead flesh, it has kept all the suffering and took on itself all the colors of the flesh alive. Both convulsive pain and vulnerability, but also charming invention, colors and acrobatics. Bacon does not say "pity for beasts" but any man who suffers is some meat. The meat is the common zone of man and beast, their area of indistinguishabilty, it is this "fact", this state where the painter identifies the objects of his horrors and compassions. The painter is butcher, but it is in his butchery as in a church, with the meat for Crucified. It is only in butcher shops that Bacon is a religious painter. [...]"
( Gilles Deleuze - 1981 - Logique de la sensation )
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(...) J’essaie de montrer ce que c’est qu'une "ligne de fuite" en peinture. J’arrive à peu près à la définition du processus. Je prends des exemples.
Je prends par exemple la ligne de certains artistes très classiques, la ligne qui répond à la formule célèbre : "Il ne peignait pas les choses, il peignait entre les choses". La ligne qui passe entre les choses n'est pas la ligne qui cerne les choses, mais la ligne qui les assemble et les sépare à la fois.
Je prends un autre exemple extrême, chez un artiste récent : la ligne dite de Pollock. Ce qu’il y a d’extraordinaire avec cette ligne, c’est qu'elle récuse aussi bien l’abstrait que le représentatif. Qu’y a-t-il de commun entre l’abstrait et le représentatif ? D’une certaine manière, la ligne y est encore une ligne au moins virtuelle de mort.
Qu’est-ce que j’appelle "ligne de mort" ? Une ligne de mort est une ligne qui détermine, qui ferme, qui achève un contour. Alors la vraie différence, elle n'est pas entre abstrait et représentatif, elle est entre la ligne qui ferme un contour et la ligne qui procède autrement. Une ligne qui ferme un contour peut déterminer une figure concrète aussi bien qu'une figure abstraite. Que ce soit de l’abstrait ou du représentatif, il n'y a pas là de différence, vous avez toujours la ligne qui fait contour.
Pourquoi la ligne de Pollock n'est-elle ni abstraite ni concrète ? Parce qu’elle ne forme pas un contour. Comme on le disait à propos d’autres peintres, elle passe "entre" les choses. Elle ne va pas d’un point à un autre, c’est au contraire un point qui va d’une ligne à une autre, ou d’un segment de ligne à un autre segment de ligne, etc.
Je dis que la ligne de Pollock c’est une "ligne de vie", en effet. (...)
(...) I try to show what is a "vanishing line" in painting. I manage to roughly define the process. Let's look at some examples.
For example, I look at the line of some very classical artists, the line that meets the famous: "It does not paint things, he painted between things." The line that passes between things is not the line that turns around things, but the line which separates them and assembles them at once.
Another extreme example, is with a recent artist: the line said as the Pollock's line. What is extraordinary with this line is that it rejects both the abstract as the representative. What is common between abstract and representative ? In a way, the line is still virtually a "line of death".
What I call "line of death" ? A "line of death" is a line that determines, which closes, which is completing a contour. So the real difference, it is not between abstract and representative, it is between the line closing a contour, and the line proceeding otherwise. A line which closes a contour can determine a concrete figure as well as an abstract figure. Whether it is abstract or representative, there is no difference there, you have a line making a contour.
Why Pollock's line is neither abstract nor concrete ? Because it does not form a contour. As we said about other painters, she runs "between" things. It does not go from one point to another, in contrary, it is a point that goes from one line to another, or from a segment of line to another segment of line, etc.
I say that the Pollock's line is a "life line", indeed. (...)
( Gilles Deleuze - Cours Université PARIS 8 - "Anti-Œdipe et autres réflexions" )
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rectO-persO | E ≥ m.C² | co~errAnce | TiLt
Skates made of wooden cars from IKEA.
The method of installation - socks. The product made by Natasha, almost 6 years old.
[That's exactly how I see the world these days.]
[it's been taken while driving...]
Among blue's attributes: calm, peaceful, pacific. A room painted in dark blue can even have a sedative effect. But blue also displays a more dynamic side, one that promotes creativity and inspiration.
La última versión de las piedras urbanas Electrobudísticamente customizadas ha llegado. Las podrás ver y adquirir (20k/ 10USD) desde el dia jueves 10 de noviembre en la inauguración de la exposición colectiva Perseverancia. GALERÍA EL GARAJE CALLE 70 # 4 -17 BOGOTÁ. 7:00 P.m.
¡¡¡Son rostros magneticooooosss!!!!
The latest statement of the Stonefaces customisation project has arrived, come and check it next Thursday, nov. 10 in the space of EL GARAJE gallery, within the collective show "PERSEVERANCIA" ("Perseverance") CALLE 70 # 4 -17 BOGOTÁ. 7:00 P.M.
10 USD Each one.
Not only do I believe in recycling, but in reusing. This was a burnt out light bulb. I was bored and had a blue sharpie next to me. This was the end product, and I'm not sure what to do with it at this point.
[+1 in comments]
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“The creative mind plays with the object it loves”
“The creative person is willing to live with ambiguity. He doesn't need problems solved immediately and can afford to wait for the right ideas.”
Location: Fuvahmulah / Maldives
Photo of Moleskine journal. Patricia Lindberg's' entry in Tribe Online's "Creativity" photo contest.
"Creativity is the power to connect the seemingly unconnected."
Buy this tee on Imaginary Foundation!
"On The Prowl"
Settings: 50mm and 1/250 at f/1.8 (ISO 200)
Featuring: Chriss (MM #2240156)
This is day 25 of 30 in my personal challenge to post a photo to Flickr every day in April 2013. See the rest in the 30 Days of Creativity set.
Here is another image from September's "caged animal" shoot with Chriss at the Los Angeles old, abandoned zoo. As with the last shot (which was my favorite image from the series), this was taken in the old bear cages that are now part of the picnic area. I like how this shot expresses the fluidity of a wild animal on the hunt for its prey. Sexy has never been so lethal.
This was actually supposed to be the photo for day 23, but I was having trouble getting the photo just right. It was either too warm or not warm enough, too much red or shadows on the face, etc. I wanted to normalize her skin tones while enriching the rocks around her. I ended up starting with the "Nostalgialicious" preset I've had for a while, then tweaked it by lowering the saturation on one channel, raising it on another, and tweaking the color balance some more. Finally achieved the look I was going for (which wasn't far from the original image). Also brought down the highlights while raising the shadows and increasing contrast slightly. The preset also added a vignette that I liked.
Find out more about my 30 Days of Creativity here:
aaronkaiser.com/blog/2013/04/02/april-30-days-of-creativity/
The two girls talk about their secrets of youth. It was a gloomy day, it was very cold, but the girls did not bother.
We are in the forecourt of refuge "CITELLI" at an altitude of 1,400 meters above the sea level. When there is no haze we can see the Ionian Sea and the coast of Calabria.
My last commission of 2019 finished! Osgiliath was a fun project to do. I have never really tackled ruins on this scale before, so it was fun to experiment with that.
I hope you enjoy it, as much as I enjoyed creating it. I know my client is very pleased :)
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