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During my first visit back to Amsterdam after immigating to Canada in 1953, I realized the sense of trauma when suddenly confronted with a whole different set of behaviors and expectations.
Travelling from Groningen or Venlo to meetings at Utrecht, quite centrally located in The Netherlands, I've never regarded as a great hardship. Trains are mostly comfortable and I look forward to walking a bit before official duties begin. My favorite haunts then are the Old Botanical Garden and the Cloister of the Dom-Church (also called St. Martin's).
Intent all morning on a set of papers about philosophy and science, the familiar sight of this canon writing a book quite suddenly dredged up from the deepest reaches of my mind:
"Each creature of the world / is as a book and picture to us / and a mirror."
[Omnis mundi creatura,
Quasi liber et pictura
Nobis est et speculum.]
Penned by Alan of Lille (c.1128-1202), these words are a shorthand for what is called "The Book of Nature", an idea still very much alive even in modern science. Think only of closely related metaphors such as "the DNA code".
This statue of a canon writing in a book dates from 1913. It was designed by Jan Hendrik Brom (1860-1915) and cast by his son Jan Eloy (1891-1954). They took as their inspiration the figure of the medieval legal scholar and canon of St Martin's, Hugo Wstinc (?-1349). Wstinc had been pointed out to them by Jan Hendrik's brother, Gisbert or Gijsbertus Brom (1864-1915). Gisbert was an astute scholar and a foremost archivist of the Middle Ages, who also wrote a fine guide to the archives of the Vatican. Moreover, he was active in contemporary socio-political debate in the Church between 'modernism' and 'integralism', coming down hard against the latter. For Gisbert the medieval legal scholar Wstinc stood as a contemporary metaphor for science and scholarship in general. It was in this spirit that the City of Utrecht presented the University with this token of their esteem.
In back in the Cloister walls are scenes from the life of St Martin.
This feels a bit like a metaphor for life just now.
The overgrown bank on the way down in to the village is starting to hide the signpost to direct visitors to the village, the falls and the Coiltie Loop. The recent spell of warm sunshine followed by some solid rain has just made the bank explode in life with the undergrowth threatening to overwhelm the direction post.
And this is where it feels like life - the sign showing us where to go is being consumed by the undergrowth of life, obscurring direction and taking over every aspect of our being.
Today I am feeling somewhat adrift, I have some work to finish off this week and a few jobs to get done. I have studying to get on with. I have people to chase. But I have little motivation as my mind is just filled with a complete jumble of everything else going on.
Perhaps I should schedule some time to just go for a wee walk this week to clear my head. I would say a bike ride as that usually does the trick, but I seem to have damaged my arm whilst strimming last week and have no grip in my right hand which could prove somewhat unfortunate whilst mountain biking!
“I mean that could be a metaphor for life,” said Sprite, watching the fires burning on the bridge.
“Yeah,” sighed Fuen, “burnt a few too many bridges in my time.”
“Regrets?” asked Sprite.
“Many,” replied Fuen.
“How about you Yuffie?” asked Sprite.
“Oh, I don’t regret burning down bridges,” replied Yuffie. “I only regret some people weren’t on them at the time.”
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TellyTube Edition: youtu.be/u1mTi_hZKME
Model: Jillian
Styliing: Photographer
Lighting: Profoto 600R with soft box camera left. Black cloth backdrop. NikonD800E with 85m lens. Converted to black and white with NIK Silver Efex Pro.
Born in Illinois, Meatyard attended Williams College on the Navy V-12 program. He became a licensed optician in 1949 after working for Dow Optical in Chicago. Moved to Lexington, Kentucky, for an optician job, became interested in photography, and sought out Van Deren Coke as a teacher/mentor; bought twin lens reflex in 1950. He also studied with Minor White but thought of himself as a "primitive" photographer. Meatyard’s photographic work is primarily square, black and white images of children and anonymous figures wearing Halloween masks in rural fields, abandoned structures, or barns. He often experimented with movement of one or more human subjects producing enigmatic blurred features. The work creates macabre overtones with doll images and nightmare juxtapositions of innocence (children) and potential danger. Many critics have attributed visual elements in Meatyard’s photographs to metaphors for death and decay. He was influenced by literary sources and his final theme, before an untimely death, was The Family Album of Lucybelle Crater (published posthumously in 1974). Characters and scenes in this series are taken somewhat literally from a Gertrude Stein story of a Southern lady. Meatyard’s work appeared in print in the early 1970s just as university art programs in the United States began to experience a growing trend in creative photography; this, and the appeal of a psychological dimension, may explain the longevity of this man’s influence.
(Author: Ken White - Rochester Institute of Technology)
www.luminous-lint.com/app/photographer/Ralph_Eugene__Meat...
Mirit Ben Nun: Shortness of breath
'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual.
This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting.
In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset.
Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'.
This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant
Tali Tamir
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Esta fotografía ilustra la frase "Las tristezas ahogan, aunque sean polvo y arena" y forma parte de un texto al que llamé "Παλλάς" (Palas) y lo podéis leer aquí: sdelcerroscasso.blogspot.com.es/2013/12/blog-post_23.html
Lord Krishna est un immense guerrier mais c'est aussi un grand séducteur.
Il charme les gopis, les femmes et les filles de bouviers(gardiens de vaches)
Les soirs de pleine lune,il joue de la flute si divinement que les Gopis accourrent et tombent immédiatement amoureuse de lui. En dansant, elles forment un cercle, symbolisant l'union du ciel et de la terre.L'amour de Krishna pour les gopis est une métaphore de l'amour du dieu pour les hommes.
Lord Krishna is an immense warrior but it is also a big seducer.
He charms gopis, women and girls of cattlemen(sheep dogs) (guards of cows)
In the evenings of full moon, he plays of reedy so divinely as Gopis accourrent and immediately falls in love with him. By dancing, they form a circle, symbolizing the union of the sky and the earth(ground). Love of Krishna for gopis is a metaphor of love of the god for the men(people).
We always try to live to these standards set to us by media: be skinny, with flawless skin, tall, with always perfect hair... Which is all not true in the real life. No one is perfect in the real life and we shouldn't be!
Thinking of this, I decided to start a series of conceptual photos: "A metaphor of me", showing the stereotypes I've always been following. I hope that doing this, will help me to understand better why I have always been doing that and why I should stop =)
Seriously, do women really NEED breasts, big like that and even bigger?? =)