View allAll Photos Tagged existential
Out of bounds, after a seven day storm.
Always an existential problem on a day like this: ski, or photograph?
Don't get to close to the cornice...
Steve
Another purported purchase from West Russia, the M-103 is a fierce electronic warfare platform capable of disrupting the ground-, air-, and spaceborne radar and telecommunication systems NATO employs to maintain security not only in Europe, but across the globe. This translates to the M-103 being yet another existential threat for NATO since the organization's heavy investment in intelligence gathering and battlefield network management was meant to keep the alliance one step ahead of its foes; however, the presence of the Chislobog and the M-104 Ozhwiena in Eastern Europe (and likely Southeast Asia) means that the West's cutting edge is dulled significantly. With the ability to jam AWACS, UAVs, low-orbital satellites, and radar-guided munitions, the M-103 and M-104 act as a not-so-scifi forcefield protecting Yugoslavia and its cohorts. This has caused tremendous angst in NATO as the alliance is forced to reassess how it plans and executes missions in its own backyard.
In fact, during NATO's intervention in Ukraine during the Second Eastern European War, the West had to resort to oldschool, low-tech espionage techniques to locate the M-103s and M-104s deployed by the Yugoslav-backed Block Cross units. Since both systems--especially when working in tandem--are able to scramble essentially any electronic signal, the West was often operating blind during the early days of the conflict. That isn't to say the West was totally impotent during the waking hours of the conflict; however, its overall effectiveness was incredibly muted compared to what was expected from the world's most advanced collection of armed forces. Hence, special forces (e.g. Britain's SAS) were put on the ground not only to reinforce failing Ukrainian regulars, but also to expand NATO's maneuvering space via the neutralization of the Black Cross' EW suites. Ultimately, at least one M-103 and three M-104s were destroyed or damaged during these targeted operations; nevertheless, many others escaped as Yugoslavia/the Black Cross shrewdly withdrew them from the front once the ball got rolling in NATO's favor.
To this day, the M-103 haunts the dreams of many an AWACS crewman. Although the M-103 is often mockingly referred to as the Babushka by these crews, the Chislobog has taken on the status of a Lovecraftian monster in the mythos of the Western intelligence community. Since the Second Eastern European War, NATO and its associates have emphasized the immediate elimination of any and all EW systems that may be present on a given battlefield. Additionally, NATO has once again invested heavily in HUMINT instead of relying on purely technical intelligence gathering techniques like SIGINT, IMINT, etc. By investing in advanced technology of its own, Yugoslavia has managed to make war a much more human experience again rather than one fought by machines and computers.
Once again, shoutout to the homie Lego Pilot for rendering and editing this bitch!
Puesto que el hombre en su totalidad es sólo el fenómeno de su voluntad, nada puede resultar más absurdo que, partiendo de la reflexión, querer ser algo distinto de lo que se es. El Problema radica en que no se que es lo que soy !
According to Robert Frank's existential argument for monochrome. Black & White are the colours of photography. To me they symbolise the alternatives of hope and despair to which mankind is subject.
However I have uploaded both versions of the Dancer in the darkness to explore tones, textures, shape, form, and saturation. I think the monotone version has a bit of a nostalgic feel and appeal.
I was getting an artistic shot of the flowing leaves of the marsh cattails, and this swallow showed up just at the right time, hovering over grass and probably looking for more insects to eat :))
These are the moments where one's soul is full of joy, an existential beauty in witnessing such spontaneity and wonder!!
Hence the title 'Like a Dream'--
Please enlarge for the best view...
I'm not sure if i've ever suffered an existential crisis on the level that this man is currently having to deal with. Sure, I've had some strange notions from time to time but this guy's desperation at his inability to tell his lovely lady that they aren't really lovers and are, in fact, just stencils is somewhat heartbreaking. The swirling maelstrom of his thoughts is reflected in the somewhat random background. Just how is he going to break it to her? Life can be tough, can't it?
These are on A3 paper and will look lovely once framed. Drop us a line if you're interested...
Cheers
id-iom
I'm ending this year's galaxy season with the ultimate existential crisis!
Seen here as the fish hook shape is what is known as "Makarian's Chain", a group of galaxies with an average distance of 50 million light years from Earth. These galaxies are all a part of the Virgo Supercluster, which the Local Group (containing our own Milky Way galaxy) is all a part of. But those aren't the only galaxies in this image. Every fuzzball in this picture that doesn't look like a star is a galaxy, each with 100-400 billion stars, and statistically speaking, many of those stars will have a solar system. As a little bonus, I framed the beautiful spiral galaxy M88 in the lower right corner.
Here is the annotated version of my image. Every labeled item is a galaxy: i.imgur.com/5ykHvyd.jpg
Equipment:
OTA: William Optics GT81 w/0.8x reducer (382mm fl at f/4.7)
Mount: Orion Sirius EQ-G (HEQ-5)
Guidescope: Orion 50mm guidescope
Guiding camera: Orion StarShoot Autoguider
Imaging camera: ZWO ASI1600MM-Cool
Software:
SGP
PHD2
CdC
PixInsight
Acquisition:
Location: Atoka, Oklahoma (Bortle 3), and Fort Griffin State Historic Park, Texas (Bortle 3)
Dates: 4/10/2018, 4/14/2018, 4/15/2018, 5/5/2018
Gain: 76 Offset: 15
Camera temp: -20C
L: 167x180"
R: 43x180"
G: 40x180"
B: 50x180"
Total integration time: 15hrs
64x darks per calibration
30x flats per calibration
200x bias (master bias in library)
Preprocessing:
Batch PreProcessing script to generate calibrated images
StarAlignment to register all frames to a reference L
LocalNormalization on RGB frames
ImageIntegration
DrizzleIntegration
DynamicCrop each master
DBE on each master
LinearFit G and R to B
RGB processing:
PhotometricColorCalibration
SCNR green 50%
ArcsinhStretch for a small stretch
HistogramTransformation x2 to finish the stretch
SCNR green 100%
ExponentialTransformation w/ mask to push the galaxies slightly brighter
CurvesTransformation for saturation
ColorSaturation to target blue saturation
L processing:
Deconvolution
HistogramTransformation x2 to stretch image
Duplicated the image to create a starless version, using a starmask and several iterations of MMT and MT. Then pushed the faint nebulosity in the starless version using PixelMath expression: "1-(1-$T)*(1-$T)"
Combined the starless version with the image using PixelMath expression "F=0.4; (1-(1-$T)*(1-s)*F)+($T*~F)" followed by the same expression with F=0.2 (s=starless photo).
HistogramTransformation to move blacks in
LocalHistogramEqualization to improve contrast within galaxies
MultiscaleLinearTransform for slight sharpening
Combined L and RGB with LRGBCombination tool
CurvesTransformation to neutralize background color
ACDNR for slight noise reduction
HistogramTransformation to move black point in
Resampled to 40% for web posting
Amid the quiet hum of a barangay center in Iligan, Mindanao, a lone goat rests atop a weathered rock, a makeshift plywood cushion softening the hardness beneath. Its tether, anchored to the earth, speaks of quiet restraint—a moment of stillness shaped by unseen boundaries. Sunlight catches the rough texture of its fur, the muted tones of stone, and the contrast of freedom just beyond reach.
I have been going through an "origami existential crisis" lately, because I basically was rusty at first and it really scared me, blah blah blah, anyway. Actually being able to finally fold and completely assemble both of the Quadra-Hadra-Pudra-Phedron and the Ditrigonal Dodecadodecahedron was a huge thing for me and it helped me actually get my self-esteem to a normal level (aka way too high). BUT AGAIN, I'M RAMBLING. I just wanted to say that for some reason I preferred folding the Woven compound of 5 octahedra, even though it was waaaaay harder for me to wrap my head around the weaving. It just feels solid, dense, and it's way more stable than both the QHPP and the DDD.
But hey, they still have all been a lotta fun to fold.
[all models designed by Daniel Kwan ]
SHE WRITES TO ME ABOUT the experience of being in several places when she is walking through a city. The physical space, but also the overlapping spaces of dreams, memories, and desires. She observes that the possibilities of any city are infinite, often frightening in the variety of combinations they present.
SHE SENDS ME A PHOTOGRAPH ON THE THRESHOLD OF HERSELF , about to become someone else, someone other. Do all the borders crossed cancel us out, reducing us to zero?
"I sometimes look into the face of my dog Stan and see a wistful sadness and existential angst, when all he is actually doing is slowly scanning the ceiling for flies."
~ Merrill Markoe
Posting for 12 months group...please don't feel a need to comment until I'm back again for real!
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No blogging please! All of my photographs are Copyrighted and All Rights Reserved.
(© All rights reserved), Every single image is protected under the United States and International Copyright laws and may not be downloaded, reproduced, copied, transmitted or manipulated without written permission.
Thank you
Feel free to interpret the photo [what does it mean?] in comments left below. Or feel free not to. Whatever you do, remember that you will be defining your essence by the way in which you respond. If you ignore the issue while being aware of it, you will enter a state of bad faith.* It's all up to you.
*in a state of bad faith one denies one's own consciousness or awareness in the face of changing reality
This image represents THE TOTALITY OF REALITY UP TO JANUARY 16, 2011.
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal
Do you wanna start a cult with me? I'm not vibrating like I ought to be. I need a purpose, I can't keep surfing. Through this existential misery.
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal
Sweet Rebellion
“Kid, I've got news for you: today's porridge is sugar-free...”
A moment of pure existential shock and total disagreement with the new menu.
Me + my boat + bad decisions 💣.
Oars? Decorative ♀️. Motivation? Lost . GPS? Lol 🚫.
Damsel in distress but too stubborn to yell ️. Peaceful drowning vibes 😴⚓💀
Taco Cat is having an existential crisis ... (Is he a palindrome? Or a t-shirt design? Or both?)
For the shirt.woot derby
www.youtube.com/watch?v=KENqo_h8qvc
Marvin & Miles ... Gare du Nord ( Sexy vibes for pre week end ! )
Photo of one of my stolen originals
2005 lac Waterloo
2_ducks_Stuckinthemiddle
Warmth or love they seek ?
Or same thing ?
Great thursday
Guy
NOT ONE. TWO.
Seahorse - Borealnz - thank you again
Debris in water - Terri Lynn - Bless you
Glass brick - Gerla Brakkee - my friend, thank you
Inspired by a conversation with Andrea
and the father that cares for his children.
treated myself to a Panasonic LX100 last year thinking it would serve as a "pocket" camera. Never really got on with it. Well enough constructed but I find it a bit fiddly to use.
Just getting round to clearing out the memory card now after 6 months of sitting jacket pockets, this one was shot in the seasonal German market in Edinburgh. Not as sharp as it might be but the best of a fairly mediocre bunch.