View allAll Photos Tagged metaphor
We've shot right past the peak daylight of late June here in northern Ohio. Came and went as it always does, unnoticed; simply lost in the blur as days slip into weeks. I'm having to reverse course now on my evening activities...doing the same things, but doing them earlier before darkness sets in. I've been riding my bicycle lately out to the township line. Great stress reliever, great exercise, and more often than not, great life moments. I just love the solitude of the rural roads and expanses of farmland. For me there's always been a high level of spiritual energy surrounding crop fields. It's similar to that Zen feeling I feel in my own tiny vegetable garden. But it's at the steroid level adjacent to multi-hundred acre cornfields. So I'm already predisposed to a metaphysical thought process just being here. But some evenings the sky erupts into insane color and texture as the sun sets. Happened several days in a row last week. No two alike, and extremely dynamic in nature. The color expands and collapses within minutes or even seconds. It ripples across the clouds, and presents hues so vivid and saturated that it seems surreal. I've come to realize the feelings I associate with these moments have less to do with the actual colors, but the sense of awe that overwhelms me as I experience them. I'm not merely witnessing the color, I'm being enveloped in it as the last light is squeezed out of the day.
This image is probably should be two separate ones. It has two sides and they both work independently of each other, but for some unknown reason they just click together. Metaphors aside, I’m interested in why I feel they work together and if anybody else can see it, or is it just me? Part of the reason I love photography, (ok making images) is this type of conundrum and what it offers to me in enquiring about how I see the world. There are more unknowns than knowns, but our crazy world would lead us to convince us of the latter, in blissful ignorance of what is out there that can enrich our lives! I know I’m getting all heavy, but it’s the unknowns that are on the edge of knowledge that keep me interested! Oh yes its getting near New Year and I often think this way when I have a bit of time to reflect on where it is that I’m actually going and to remind myself that it’s the journey not the destination!
Any Avengers fans in the house? One of my fav lines is from End Game, where the superheroes have come together for the final showdown. In the film version it is Captain America who says: "Avengers...assemble." But die-hard (no pun intended) fans know that it was actually Thor who rallied his comrades in the 1964 comic Avengers #10 by Stan Lee and Don Heck.
What does this have to do with a baking a cake? Well now, I'm glad you asked. I'm a novice baker, prefer to cook because it's more freeform and forgiving; baking is precise and not tolerant of mistakes...not if you're hoping for a palatable win.
"Ingredients, assemble!"
52 Weeks - The 2025 Edition
Week 36: flat lay photography
Figure of speech that implies comparison between two unlike entities, as distinguished from simile, an explicit comparison signaled by the words “like” or “as.”
The distinction is not simple. The metaphor makes a qualitative leap from a reasonable, perhaps prosaic comparison, to an identification or fusion of two objects, to make one new entity partaking of the characteristics of both. Many critics regard the making of metaphors as a system of thought antedating or bypassing logic.
Heedless, Clueless, Faceless, Speechless.
So many disasters in progress. Will there be consequences for the perpetrators?
China, Shanghai, Anting, "Shanghai Automobile Museum",
…once upon time,..relics when there were gas station attendants who cleaned the windshield & rear window during refuelling the gasoline, measured the tire pressure & oil level, checked the radiator water & friendly wished a good journey.
The Museum officially opened an area of 11,700 square mtr, with a construction area of 27,985 square mtr, a building height of 32.45 mtr & a total exhibition area of about 10,000 square mtr to the public in January 2007.
According to its functions, the interior space of the Shanghai Automobile Museum is divided into five parts; the historical museum, the collection hall, the exploration hall, the temporary exhibition area & the conference & leisure area.
The Collection Pavilion stages milestones in automobile development from the years 1900 to 1975 with a collection of 39 classic & antique cars of more than 20 brands. Highlighted, on shiny aluminium platforms, are so-called "dream machines", dream cars that were considered unaffordable at all times. Original design products as well as films, photos & sound complete the automotive experience & allow visitors to immerse themselves in bygone times. The Collection Pavilion is located on the first upper floor of the Shanghai Auto Museum.
All-in-all, there are around 100 cars on display in the museum, dating back to the earliest automobiles from the late 19th century to the modern electric cars of this era. The accompanying documentation is also very well done, in both English & Chinese, also French & German-language audio guides.
The Shanghai Automobile Museum is a five-storey building with the essence of communication & integration of space, visual penetration & communication. The building’s façade is covered with a large area of transparent glass, allowing to enjoy the natural landscape of the surrounding park, there are several different levels of terraces, roof terraces & the interior of the building is designed to be open & closed.
The shape design of the venue uses a flowing curve, symbolizing the trajectory of the car at high speed, reflecting the sporty theme of the car museum & its architecture is also like a superimposed book, metaphorizing the museum’s knowledge & cultural taste.
👉 One World one Dream,
🙏...Danke, Xièxie 谢谢, Thanks, Gracias, Merci, Grazie, Obrigado, Arigatô, Dhanyavad, Chokrane to you & over
14 million visits in my photostream with countless motivating comments
This clock is an original Irish grandfather clock, maybe 170 years old. It had marked off every moment, good, bad and indifferent of the lives of everyone I know, their fathers and grandfathers and has never flinched.
This is a photo of reflections on the surface of the river. The image has been mirrored and copied twice to be symmetrical. The detail is best seen full screen.
The current understanding of astrophysics is that at the beginning of the universe, the creation of matter was symmetrically balanced by the creation of anti-matter. Contact between them results in their mutual annihilation, accompanied by a massive release of energy, analogous to a nuclear explosion. The symmetry in this image could be seen as a visual metaphor for this.
Another shot of the addition. It's very waaaay up there in the sky, magnifying my feeling of AT-AT walkers attacking the rebel base.
I find this thing a little cutsie. The sticks look like pencil crayons, and the whole grid design metaphor...it's all just too literal for me. Though I DO love how it looks like it should collapse at any moment.
Excerpt from The Globe and Mail:
What the giant mural at Yonge and St. Clair says about Toronto by Brad Wheeler.
Published Thursday, Aug. 11, 2016 3:30PM EDT:
Mural, mural on the wall? What used to be a blank side of a 12-storey building at Yonge Street and St. Clair Avenue is now a giant wall painting and curiosity by the British street artist and illustrator Phlegm. The Globe and Mail spoke with Alexis Kane Speer, the founding director of the STEPS Initiative, a public arts organization, about the large-scale mural and what it means.
Can you give us a quick explanation of the background on the mural and how it came together?
The City of Toronto has a program called Street Art Toronto, which funds much of the high-calibre street art that you’re seeing around town. Each year, they support one large international project, to foster cultural dialogue and to gain international attention to a homegrown project. Slate Asset Management, which is developing property in the area of St. Clair and Yonge, realized they had an asset – an empty wall facing westward at a high-traffic intersection.
A blank canvas, as it turns out.
Exactly. And the area doesn’t have a lot of public art. It doesn’t have a lot of colour. So, the City of Toronto asked us, the STEPS Initiative, if we’d be interested in producing the work. We have experience in these type of large-scale projects, including the world’s tallest mural, at Wellesley and Sherbourne.
For the building at Yonge and St. Clair, we short-listed 10 artists. With some of the area stakeholders, we narrowed it down to Phlegm.
Besides the catchy handle, why him?
His style is a really good fit for the neighbourhood. It’s a sophisticated style, and, aesthetically, it’s very different than what we see in the city. He has a history of working in unlikely spaces, which is akin to what we do at STEPS. We try to create cultural space in places that are not thought of in that way.
Did Phlegm have a connection to Toronto?
He had never been here before. We wanted to make sure he was provided with enough cultural context to create a work which was culturally relevant. Initially, we served as his eyes and ears on the ground. We engaged with area business owners, workers and residents, asking them about local landmarks, about what they think of the area, and about their favourite memories of the area. Phlegm heard a lot of that information and came back with a proposed concept, and the stakeholders loved it.
It’s a nifty, urbane piece of work. It reminds me of something you might see in The New Yorker magazine. How would you explain it yourself?
The design over all is a human form overlooking the city. A lot of people don’t realize that Yonge and St. Clair is one of highest points of the city. The mural acts a metaphor for the living, breathing nature of the city. The figure is composed of landmarks and recognizable features, such as the CN Tower, the ROM [Royal Ontario Museum] and the A-frame houses of the area.
The human form is scrunched up a bit. I saw that as a metaphor for urban density and over development.
Oh, I don’t think so. I think it’s a more contemplative pose. You probably saw the original rendering rather than the image of the work itself. Since the rendering, the figure has changed a bit. It’s a more upright posture. It’s about taking a pause – taking a second look.
permettre au sujet de se dévoiler en nous tenant ni trop près, ni trop loin ...mais à la juste distance...
In a profound sense every man has two halves to his being; he is not one person so much as two persons trying to act in unison. I believe that in the heart of each human being there is something which I can only describe as a "child of darkness" who is equal and complementary to the more obvious "child of light." Laurens van der Post