View allAll Photos Tagged metaphor
An Authentic Lie?
a series of images which explores and questions:
_A visual metaphor of the 'relationships' we see on Social Media
_The 'realities' we see and devour
_Are they 'truths'?
_Or perceived perfection, 'perfect' lives, a literal 'Authentic Lie?'
This was from my "Inspiration" brief. We had to take a song/poem or short story and transform it into photographs. The song I chose was Suicide by Devin Townsend.
In the top image, the figure in the background symbolises "Death".
Then in the second image, I'm wearing the hood (which is mostly what symbolises Death).....
They're also both self-portraits to add to the self-harm/self-mutilation aspect a bit more...
The magesty of Garrapata Peak also known as Doud Peak, Big Sur. Approaching storm clouds as a metaphor for approaching California State Parks closures. One of a series.
This is a call to arms. We should commit to preserving access to these jewels of nature. It is our heritage and legacy.
the current list includes:
Anderson Marsh State Historic Park (SHP), Annadel State Park (SP), Antelope Valley Indian Museum, Austin Creek State Recreation Area (SRA), Bale Grist Mill SHP, Benbow Lake SRA, Benicia Capitol SHP, Benicia SRA, Bidwell Mansion SHP, Bothe-Napa Valley SP, Brannan Island SRA, California Mining & Mineral Museum, Candlestick Point SRA, Castle Crags SP, Castle Rock SP, China Camp SP, Colusa-Sacramento River SRA, Del Norte Coast Redwoods SP, Fort Humboldt SHP, Fort Tejon SHP, Garrapata SP, George J. Hatfield SRA, Governor's Mansion SHP, Gray Whale Cove State Beach (SB), Greenwood SB, Grizzly Creek Redwoods SP, Hendy Woods SP, Henry W. Coe SP, Jack London SHP, Jug Handle State Natural Reserve (SNR), Leland Stanford Mansion SHP, Limekiln SP, Los Encinos SHP, Malakoff Diggins SHP and Manchester SP.
Also, McConnell SRA, McGrath SB, Mono Lake Tufa SNR, Morro Strand SB, Moss Landing SB, Olompali SHP, Palomar Mountain SP, Petaluma Adobe SHP, Picacho SRA, Pio Pico SHP, Plumas-Eureka SP, Point Cabrillo Light Station, Portola Redwoods SP, Providence Mountains SRA, Railtown 1897 SHP, Russian Gulch SP, Saddleback Butte SP, Salton Sea SRA, Samuel P. Taylor SP, San Pasqual Battlefield SHP, Santa Cruz Mission SHP, Santa Susana Pass SHP, Shasta SHP, South Yuba River SP, Standish-Hickey SRA, Sugarloaf Ridge SP, Tomales Bay SP, Tule Elk SNR, Turlock Lake SRA, Twin Lakes SB, Weaverville Joss House SHP, Westport-Union Landing SB, William B. Ide Adobe SHP, Woodson Bridge SRA and Zmudowski SB.
Recently featured in article to save our parks. closing them is madness ...
THE WINTER NOTEBOOKS, Pages 3 & 4, Detail
Below is a transcription of the dialogue between the male/masculine and the female/feminine. Rather than being distinguished by color, the male voice is preceded by an M and the female voice by an F:
M: Why would you diminish me? I am your father and your son and the father of your son. Why do you not worship me? You fray my edges and blur my distinction demanding entry where you do not belong and visibility where you ought not to be. Why have you become so threatening to the viability of my metaphors? Whence comes this hatred—this sudden heat....
F: I do not hate you. You are in me and of me. I am your mother, wife and daughter. No, I do not hate you. The heat you feel is fear. I am frozen with it. My cycles of recognition into linear conceit poisons my being. I can no longer tolerate my obsequence. You have become my enemy. You lie within.
M: But why? Through repeat, I remain eternally young. Do you not find this desirable? As my beauty transfers from father to son to father to son, do you not take pride in my re-creation? I am for you what you can never be for me. Within my outlines, you remain confined. Why would you compress my boundaries? You seek our destruction.
F: Time will diminish you. You have played Puer Aeternus to the brink of our extinction. Nothing will survive your completion. Nothing. I abhor your simplistic answers to simple questions—your beginnings and endings, your repeats and shallow predictability. I would absorb you as you have absorbed me. Define you as you have defined me before you destroy us all.
M: Why have we become enemies? I would turn away from this confrontation. You pierce me with criticism. This world I have created, this reality, this gestalt constructed of a million metaphors. By shifting boundaries and shredding outlines, you will never alter the inevitability of my design. Time is your enemy. I simply am. What hope have you of deconstructing that which has always been?
F: It is true. I attempt the impossible. But in this, at least, we share a dedication. You have attempted the impossible and created miracles. You invented Time and within its concept have moved us step by step along another wondrous invention: history. You have invented gods and rituals of worship. Mores and morals and art to simulate your replication in my womb. And war, to solidify your outlines and boundaries. Your past is not my enemy for I, too, have accomplished it. But your next step is yours alone. Your next step is your completion. Your next step will be the end of Time and all its metaphors. Your next step will be oblivion. You must surrender history unto me.
M: I will surrender nothing. You exist within my boundaries and have no claim to territories within or without my outlines. What qualifies you to change the map of me and dictate my movement? Where I step is where we go. All of my metaphors are in place. Whether my step leads to completion or extension should be of no concern to you. Any eventuality will be justified and as in the past, you will accompany me into the future. I will not misstep. I cannot misstep. Who would judge me? Whatever my step, my completion is my extension. They are one and the same.
F: All the metaphors have changed.Your real completion has already occurred. You are blinded by your inventions of infallibility. You have taken the penultimate step toward our annihilation and still you believe that you are capable of extension.Your completion occurred on the sixth of August, nineteen hundred and forty-five. We have been suspended in hiatus ever since. Your power ebbs. Your outlines blur. Those of us who would survive repudiate you. We see what you cannot see. A new reality succeeds you; your superiority, disclaimed.
M: You speak nonsense. Nothing will survive me because I will never die. Here or there, my extension is assured. I have created God to fulfill this promise. Why do you fear and distrust me? Have I not enfolded and protected you within my boundaries all these millennia? Why would you now distort my outline? Heretic! Do you think I do not know what you are up to? You conspire against me. You desire my place of privilege by virtue of fraud. You defame me! You would deconstruct my metaphors with nothing to replace them. You would plunge us into chaos. For what? Because you envy me? Because you distrust me? Be honest. Is this not just penis envy in the guise of desperation?
F: Does my pity seem like envy? Does my fear seem like envy? Does my urgency strike you as desperation? And as for your penis, envy lies within the insecurities of your own sex. Shame on you for employing that absurd cliché to defend yourself against dissipation. And yes, I prefer chaos to oblivion. I place my trust in the cycles of nature rather than the linearity of your god. You are moribund; your metaphors, toxic. If there is time, you will be purged; your boundaries and outlines, broken. Air and light are invading your territories and you will surrender your metaphors to a new gestalt. Within this hiatus, in the year Fifty-Six A.H., evidence exists that your step falters. Is there time?
M: I trust that question is rhetorical. Do not expect my co-operation in my presumed demise. Do not underestimate my resiliency and the deep-rooted fiber of my metaphors. It is two thousand one and my outlines are secure. You seek to intercept my line and thus redraw my boundaries. You would absorb me rather than abide respectfully within my borders. You conspire against me and incite sedition. You are the enemy of my being. Do not think me incapable of reformation. A bit of hegemony here and there and my linearity is defined. Make no mistake. My primacy here is as significant here as my legitimacy there. Cease all of this discord. Make peace with yourself. Honor me!
F: How can I honor that which would destroy me and one third of itself? You are a perversion redundant of primacy. Confess. Are you not weary of yourself? Does not doubt invade your boundaries? Have you no sense of accomplishment? You are one step from erasure. Have you so little self-esteem? You have produced miracles. You fly higher than the bird and swim deeper than the fish. You can view our world as only you thought god could view it. Is that your fear—that you have become god? That you are therefore responsible in a way unexpected and unforeseen? That you are unprepared? Your bluster is suspect. If you are not prepared to be god, then stop playing the part. Retreat! There is nothing beyond your death. There is here. You have achieved your completion.
M: Nothing changes. Still you would seduce me and turn me from my purpose. You would imbue me with hubris and self-doubt. My inventions, metaphors and identity are intact. I recognize who and what you are as I have recognized you since our inception. Get thee behind me. You are in me and of me, a metaphor among metaphors supporting who and what I am. I do exist within your cycles of nature. My course is set. It is yours to follow.
F: What was once yours is now mine. Your foolish arrogance would destroy us all. Submit. Not one more step.
Wood panels, modeling paste, gesso, acrylic, colored pencil
96" x 97"
Collection:
Crocker Art Museum
Sacramento, California
Note that the pose of the Virgin Mary (in blue) echoes the pose of Jesus. In the century when this was made, Christian's emphasized the idea that in her heart and mind, the Virgin Mary suffered great anguish along with Jesus, even though she was not physically crucified.
For this picture, you may choose to write an Ekphrasis, or point out some pairs of Antitheses in the artwork, or identify a metaphor.
deadmau5 - Snowcone
Right-click link. Select "Open in New Window
www.youtube.com/watch?v=amBBO4PqJKo
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Local Heroes SW9 - Stabbed In The Heart Again
www.youtube.com/watch?v=OpzzMibelGU&t=27s
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Ultra Q - redwoood
Consider this picture as a political metaphor. Looking at the left-hand image you see a bright sky; looking at the right, a bright rock. Nevertheless, both sides should acknowledge the point of the picture is the tree.
Anyway, I think it looks better in colour.
This is one of those things you stumble upon and wonder, "How did it get there, what happened?" By its self it could be a symbol for all kinds of things. A throw away society, carelessness, Kodak's inability to deal with market change...
Of course on further reflection the true story is far less interesting. It turns out that a couple weeks a go my coworker told me a story about the prior week wherein when she was hiking with her class and a kid dropped his camera in the raging and swollen creek. We joked it was probably in the Bay within a couple hours, but it turns out it really only traveled 20-30 feet downstream.
Still I thought the colors of the camera offered stark contrast to the surroundings, and took what this little device no longer can: a picture.
One of many examples you can find, use, for FREE just by giving credit. Is there anyone left in the universe that does not know of the nearly infiinte collection of available photos in flickr creative commons flickr.com/creativecommons --- where, while I have the mic, the interface sucks and has sucked for a long time. Thanks the stars and the open APIs for things like compfight.com or flickrcc.bluemountains.net/
This image “Alone in the world...?”
www.flickr.com/photos/beija-flor/156672376
Is one of about a billion creative common images by carf - the Children at Risk Foundation -- I know almost every other time I search I end up finding one that is from this account.
After seeing this, how can any self respecting person reach for the Microsoft clip art?
Greater Manchester Police begin a weeklong high profile policing operation in the Sale area of the Force’s Trafford Division. The Sale Neighbourhood Policing Team and the Tactical Aid Unit conducted raids on addresses across the area in the early hours.
For more information about Policing in Greater Manchester please visit our website.
Project Eighty-Five 49/85 | I thought about saying something about not being able to look back... or about your past being behind you and being hard to see... or something... but I figured you could use your own imagination this time.
Project Eighty-Five group on Flickr with two different projects to choose from!
I have always loved the chambered nautilus. Each chamber is perfect, and just ever so slightly bigger than the last. Except, of course, the chamber at the end, when it opens up so gracefully. Which is why I like it as a metaphor for life, which I’ve been thinking more about lately. If we are lucky enough to grow through all our little chambers (so to speak) we may not be afraid to open up to the bounties of the world around us. I like to think of the wood grains as sweeping the shell along, encouraging it to explore.
Sold separately in 15 colors and 10 patterns. The FatPack has a HUD with which you can mix and match all colors and patterns.
Sizes for Maitreya Lara and MeshBody Legacy.
Exclusive to Vanity Event.
The round begins on July 15th.
maps.secondlife.com/secondlife/Scandalize%20Land/53/135/2003
See it in High Resolution and get a print !
©Jean-Michel Leclercq
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Follow me on twitter : @jmleclercq
2016 入選 2016 Selected Work Award
隱喻／陳宛瑜
隱喻這一系列作品是我節選一些小物件，以正沖負片的形式創造以小觀大的小宇宙，原本的自然顏色產生紛麗的改變，逆轉過後的黑暗中看起來像是在外太空裡，我把它們拆碎、分解，隨機的散佈在鏡頭的視角裡，創造空間裡的律動感，而每一個物件，都有它特殊的隱喻和意涵在裡面，而他們所代表的意涵，每一個都是我生命中重要的元素，或是我生命中某段過程的投射與反思。
拍攝地點：紐約攝影棚
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The artwork selected for this series Metaphors are a few small pieces using negative processing to create a small universe where the microcosm embodies the macrocosm. The original natural colors undergo a strikingly beautiful change, the reversed darkness making the images appear as if they are in deep space. We have broken them apart, dissected them and randomly scattered them within view of the camera lens, creating a sense of rhythm within the space, with each object containing its own metaphor and meaning within it. And the meaning that they represent, each one is an important element in my life or a projection or reflection of it.
Location：Studio in New York
Fungal growth (or actually, division) is a process remarkably similar to our descriptions of universal expansion. Like our seeds, yeasts and fungi form spores, 'dead' units with the potential for life and expansion, given the right conditions like food, water, and sufficiently high temperature. In such circumstances, spores grow to form a single cell which will be the nucleus for growth, a core of sorts. Cells grow in volume and bifurcate. In the case of bakers' yeast a 'mother' cell forms a small bud, which expands to approximately the size of the 'mother', and separates from the mother to form a 'daughter' cell, which can then produce offspring. The place were the separation took place generates a 'bud scar' on the mother cell, and a mother cell can only produce so many offspring before she becomes too 'scarred' to form more progeny.
In fungi (like the penicillin producing species), daughter cells - through their genetically determined separation anxiety - stay attached to the mother cell, and the connection is called the septum. First, a body forms around the 'core' cell, and then the whole cell body extends its reach through growing mycelium: the 'mother' puts out its 'feelers'. Long threads are being formed by elongated cells, each one connected to the next through their septum. The septa are permeable for foodstuffs, and thus form a pipeline from the environment, feeding the collective.
Separate the thread from the collective, and some cells will die, but others are capable of growing a new collective. Extreme examples can be found in the basidiomycetes (in common language: mushrooms), which can form larger fruit bodies containing spores (the mushrooms) and underneath the earth form large networks of mycelium. This is the reason for what we call in Dutch 'Witches Circles' (heksenkringen), where a central fungal body forms mycelial outgrowth in all directions, in their turn forming fruit bodies in regular circles around the 'core'.
A common metaphor in postmodernistic, semi-anarchistic, and internet oriented culture (among others, by Gilles deLeuze) is that of the rhizome, a plant forming an ever-branching underground network of roots, characterised by rootstocks, which could be translated as nodes in the network, local focal points. As much as I like the metaphor, I think it is too much based on the 'old fashioned' scientific metaphor of describing the whole by analysing the components which comprise it. I much prefer the fungal structure, allowing for many forms in between the Basidiomycete and Saccharomyces cerevisae (Bakers' yeast) extremes: one being extremely collective (but surviving separation to some extent), the other being as individual as it gets, and intermediate species finding compromises between the two.
Moreover, there's the interesting notion that spore formation is induced by scarce conditions (the 'starving artist' comes to mind). In the lab, we can fool the cell into sporulation by adding certain chemicals that switch on the genetic pathways responsible for this process. In other words, it is possible to force the formation of spores. One can create scarcity in any situation of abundance. Humans call this 'marketing', or even 'mythology', or just plain 'exploitation'.
Then, there's this characteristic of spores that is fascinating. Whereas living fungal cells can be diploid or even polyploid (containing two or more copies of the genetic blueprint per cell), spores are haploid: they contain only one copy of the genetic information. It [the spore] represents the most lonesome state. They are arid, potentially barren, just capable of maintaining the conditions for life, have only the essential load to be able to serve the collective, if they are lucky. let me tell you, unemployment rates in the spore world are staggering! *grin*
Please add onto this, as I have saturated the basic concept. Don't hesitate to ask any question... I know I can be too detailed and scientific, and I tried to keep it as simple as possible without distorting the 'truth' too much (except for the separation anxiety part, of course :-) ).
Ferodo is a British company synonymous with breaks for the automotive industry. The above badge, dating to the 1930s uses a bold hand as a visual metaphor for breaking. The simplistic nature of the graphic image and the use of extreme black and white creates a very strong visual message. This badge would have been worn by a garage employee responsible for operating Ferodo brake-testing equipment. The graphic on this piece was also used for large promotional enamel signs for display inside and outside service station garages. Ferodo press advertising of the 1930s (the period of the badge), focused on the importance of 'break health checks'............which invariably meant motorists having Ferodo breaks/parts fitted to their cars.
Herbert Frood, a former boot salesman, from Chapel en le Frith, Derbyshire, UK, founded Ferodo in 1897 after observing how farmers and carriers coped with getting horse-drawn carts down the steep inclines in the Peak District. He noted that in order to slow down/stop, an old boot was fastened to the wooden break mechanism resulting in stronger grip against the metal rims of the wheels. Whilst designing and piloting his 'break shoes', he developed a composite material of laminated hair and bitumen for his new device. The name of the company Ferodo was based on the letters in his surname 'Frood' with the 'e' representing his wife Elizabeth.
Spanning three centuries, Ferodo has been at the forefront of friction products and breaking materials and is a global brand within the automotive industry. In 1925, Ferodo UK became part of Turner & Newall with two factories in Chapel en le Frith and in Caernarfon, North Wales. The large automotive group Federal-Mogul aquired Ferodo in 1998. The Ferodo brand is frequently seen on high performance racing cars and racing circuits throughput the world - a tradition that started in the early 20th century and is still buoyant today. Another distinct feature of Forodo advertising has seen the brand applied to bridges - a ploy that ensured the brand was always in view of the travelling motorist.
Photography, layout and design: Argy58
(This image also exists as a high resolution jpeg and tiff - ideal for a variety of print sizes
e.g. A4, A3, A2 and A1. The current uploaded format is for screen based viewing only: 72pi)
10.17
She asked me what It felt like when it happened. I told her it was like I was always watching a movie of myself, feeling like I can’t do anything but knowing I am. There’s a glass wall that separates real me from the me that’s talking. My mind and body are on autopilot, and everything seems surreal. Not the good kind of surreal, that amazing and magical the kind that makes you questions your reality. When I notice it happening I watch and observe, I don’t know what to do because I feel that I cant. I get scared and start to dwindle into that dark scary place you call your subconscious. I am trapped like a bug under a jar. I can’t escape my own realties and my thought begins to race with fear. I don’t want to be around people. My head throbs and want to hide. I cant, I can’t move, but I am moving. Is that me moving or am I in the wrong body? I sit in my mind waiting for it to stop. She asks how long this last and I tell her the whole day. I can’t stop it.
The older I get, the wiser I get. Don't get me wrong, I am still ridiculous, but things change in my brain and I love that about aging. It makes all of the other crappy aging parts worth it.
These are the words that I have to say. I love always evolving. Keeps things interesting.
When my husband and I first met in the mid 90's - we listened to a lot of Seal. I never tire of these songs. They remind me of a lovely time that has only continued to get better as time goes on.
Sheila Hicks: Weaving as Metaphor
“The book can be small, it can be big, it can be whatever. (And it has nothing to do with money. Nothing.) But it should be good.” —Irma Boom, Metropolis
San Diego changes around me, particularly from the cost-of-living increases brought by the ever-growing emigration of high-tech workers escaping Northern California; they’re well-paid and find here comparatively affordable rents and home prices—all of which rise as more Googler-types relocate. SARS-CoV-2 (severe acute respiratory syndrome Coronavirus 2)/COVID-19 lockdowns set them free to work from anywhere there is reliable Internet.
So I was only modestly surprised to see a Hummer parked off of Lincoln in the University Heights neighborhood on Feb. 21, 2021. What amazed me more, when arriving here in October 2007, was the number of Hummers seen seemingly everywhere. You could have played an adapted Punch Buggy—and lost—for the few non-military Hummers traveling about the Washington, D.C. metro area that we left nearly 14 years ago. In San Diego, the contrast was stark, and I wondered why all the gas guzzlers given stereotypes about carbon-aware, environmentally-focused California culture. Should I answer status symbol? The late-2008 economic collapse purged the oversize vehicles from local roadways. Who could afford higher monthly payments or gasoline for a roadster rated city driving of 13 miles to-the-gallon? By mid-2009, their numbers had diminished to near nothing; that I observed. Eventually, as the economy recovered, based on increasing sightings, various Jeep models replaced the Hummers as all-around utility vehicles.
Newcomers
Pandemic-driven relocation is transforming University Heights and presumably other San Diego County communities. I started seeing stark demographic changes here by late-May 2020 that continue:
* More young professional types out and about
* An increase in the number of younger couples
* Lots more parents strolling along very young children
Housing
Five years ago—even 18 months ago—I would have described University Heights as a community of older home owners and younger renters. But soaring property values has incentivized many established residents to sell—and buyers must be of more than modest means to do so. Capitalism 101: Demand drives up prices.
On February 23, the lowest listed residence for sale in my neighborhood is a 1,250 square-foot, two-bedroom townhome for $649,900. Plunk down 20 percent ($129,980), snag a lower-interest mortgage (2.82 percent), and pay $2,929 per month (including HOA fee and taxes). Up the interest rate to 3.5 percent and pay $3,122 monthly. Maybe that’s a winning-the-lottery opportunity for Silicon Valley immigrants, but a burden to many locals in a city where median, annual household income is $71,535 (BestPlaces data).
Shocker: Today, the 24th, I looked again and the townhouse is sale pending for $712,500—$62,600 over asking price. The place previously sold for $579,000 on Aug. 4, 2017. That’s a 23-percent increase in about 3.5 years.
For the many people who can't afford to buy, rising rents usher in wealthier tenants (e.g., younger professionals and well-paid couples with children) and drive out singles or couples working in, say, hospitality. The currently lowest-rent 2-bedroom apartment larger than 800 square feet is $1,850 per month. That’s a bargain.
Lifestyle
Other changes observed among my new neighbors:
* More bikers and runners (sometimes in groups)
* More evidence of people doing sporting, water, or off-road activities
* More entrepreneurs creatively running lifestyle businesses from their residences
The keyword for all three is active. Healthy-lifestyle would be another. Example of the third point: One of my newest neighbors, who recently bought a small house for $720,000, rents out a large camper van. Think of it as an Airbnb RV. The thing is rarely parked in the driveway, if that’s any sign of demand.
The second point brings us, finally, the photo, which is composed as shot but edited to taste. The vehicle was dark (grey, perhaps), making black-and-white work well (or so I say).
The lone Hummer is a metaphor for the neighborhood’s changing demographic: Tech professional, entrepreneurial, diverse, younger, well-paid, and active. The vehicle had clearly been off-road in the mud somewhere. I really should have taken a back-end view of the massive backpack hanging from the spare tire affixed to the rear door. Muddied and rugged, over-sized and gas-guzzling, pricey purchased new:
The thang is a lifestyle symbol. Yes, I have seen more than the one. Expect a sales rush when the Hummer EV (e.g., electric) is available later this year. Hehe, you can reserve one now.
Daniel Saltzman presentation on Visual Metaphor.
Blogged: www.austinkleon.com/2008/07/23/visual-metaphor-vizthink-a...
In his book Smart Things, Mike Kuniavsky suggests metaphor as a tool for thinking through ubicomp designs and interactions. By mapping one category onto another we can discover new insights -- among other things, it's a way to trick the mind into seeing old things in new ways.
Organizational metaphors (ways of organizing services) include the factory, the public utility, parallel universes and so on.
Metaphors also help people understand new services by linking the new to the familiar. For example, RFID was first introduced as the next generation of the bar code, even though the two technologies had little in common.
Kuniavsky suggests that when exploring a new concept via metaphor, it pays to explore the dark side as well as optimistic scenarios to get a more well-rounded picture of the future system. How might your design be thwarted? How might the system be hijacked or co-opted for other uses?
Check out the whole set.
Please share your thoughts!