View allAll Photos Tagged metaphors
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
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Local Heroes SW9 - Stabbed In The Heart Again
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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.
Brian Borrello presents a three-part metaphor for displacement and change.
- Illuminated metal trees generate their own electricity from solar panels.
- A virtual campfire flickers with light at night, surrounded by stainless steel stump seats.
- Light filtering through colored glass on shelter roofs simulates the dappled light of a forest.
- Concrete tree rings in the platform symbolize the forest once abundant on the site.
- Custom guardrails feature branching tree limbs and roots.
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
More deepening of Arek's metaphor. Thanks my friend traveling under oceans and over land to meet me. @mondialdutatouage
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Elisian Park, "Frogtown"
Featuring
The Bowtie Project, curated by the ClockShop, including the work of Michael Parker and Rosten Woo
Interpretive walk: bowtiewalk.org
The studios of artists
Pearl C. Hsiung and Lara Schnitger
Rosten Woo: is a designer, writer, and educator living in Los Angeles. He produces civic-scale artworks and works as a collaborator and consultant to a variety of grassroots and non-profit organizations. including the Advancement Project, the American Human Development Project, the Black Workers Center, Los Angeles Alliance for a New Economy, and Esperanza Community Housing Corporation, as well as the city of Los Angeles and Los Angeles County. His work has been exhibited at the Cooper-Hewitt Design Triennial, the Venice Architecture Biennale, Netherlands Architectural Institute, Storefront for Art and Architecture, Lower East Side Tenement Museum, and various piers, public housing developments, tugboats, shopping malls, and parks in New York and Los Angeles. His work has been supported by grants from the National Endowment for the Arts, The Los Angeles Department of Cultural Affairs, and the Los Angeles County Arts Commission. He is co-founder and former executive director of the Center for Urban Pedagogy (CUP), a New York Based non-profit organization dedicated to using art and design to foster civic participation, winner of the 2016 National Design Award for institutional achievement. His book, "Street Value," about race and retail urban development, was published by Princeton Architectural Press in 2010.
He teaches art and design at the California Institute of the Arts, Pomona College, and Art Center College of Design and has lectured internationally at such institutions as the Netherlands Architectural Institute, Brown University, the University of Chicago, MIT, Princeton, the Maryland Institute College of Art, the California College of the Arts, and the Chicago Art Institute. He has served on the boards of the Los Angeles Forum, Place in History and Groundswell Community Mural Project.
Michael Parker: (b. 1978, New York City; lives and works in LA) received a BA from Pomona College and an MFA from USC. He currently teaches sculpture at California State University, Long Beach. Recent exhibitions include Steam Work at Southern Exposure, San Francisco; Attractions at High Desert Test Sites (HDTS), Utah; R.S.V.P. Los Angeles at the Pomona College Museum of Art; Remembering Victor Papanek at the Armory Center for the Arts, Pasadena; Shitwork with Machine Project at HDTS, California; Juicework at Human Resources, Los Angeles; and The Unfinished at the Bowtie Project, Los Angeles. He is a recipient of the California Community Foundationâs Emerging Artists Fellowship, a Center for Cultural Innovation Artistsâ Resource for Completion grant, and a Printed Matter Award for Artists.
Pearl C. Hsiung : born in 1973 in Taiwan, explores the space that lies between representation and abstraction. Hsiung creates a surreal realm of absurd anthropomorphism and metaphor--where humanity may be absent, yet symbolic traces still linger. Her intensely colorful large-scale canvases, small studies, and performance videos challenge the banality of the pristine images that dominate post-minimalist contemporary art. Even so, her compositions draw on the histories of painting, alluding to European fauvism and surrealism, Chinese landscape painting, American abstraction, and pop aesthetics. Pearl C. Hsiung received her BA at the University of California, Los Angeles (1997) and her MFA at Goldsmiths College, London (2004). Hsiung's work has been featured in the 2006 California Biennial and Disorderly Conduct: Art in Tumultuous Times (2008), both at the Orange County Museum of Art; and the 2006 Busan Biennale in South Korea. Hsiung lives and works in Los Angeles.
Lara Schnitge: (born 1969 in Haarlem, Netherlands) is a Dutch-American sculptor and painter, living and working in Los Angeles and Amsterdam. Schnitger studied at the Royal Academy of Art (The Hague) from 1987 to 1991 and spent a year on a residency at the Kitakyushu Centre for Contemporary Art in southern Japan.
Schnitger works in knitted and sewn textile sculptures, videos and photographs, and has produced a book about art created from mundane materials such as fabric, titled Lara Schnitger: Fragile Kingdom.
Schnitgerâs work has been shown internationally at galleries and museums such as Magasin 3 in Stockholm, the Chinese European Art Center in Xiamen, the Santa Monica Museum of Art, Kunstwerke in Berlin, the UCLA Hammer Museum in Los Angeles, P.S. 1 Contemporary Art Center in New York, The Power Plant in Toronto, and the Royal Academy in London. She participated in the Liverpool Biennial in 1999 and the Shanghai Biennial in 2002. She is represented by Stuart Shave/Modern Art in London, Anton Kern Gallery in New York as well as by Galerie Gebr. Lehmann in Dresden and Berlin.
The Bowtie Project is a partnership between Clockshop and California State Parks to activate an 18-acre post-industrial lot along the LA River. Since 2014, Clockshop has executed over 35 artist projects, performances, and events at the Bowtie.
Bowtie Project
2780 W. Casitas Ave.
Los Angeles, CA 90039
MAP
Formerly a massive rail yard and switching station, the Bowtie was purchased by CA State Parks in 2003 to be developed as a public park and greenway. The Bowtie Project is curated by Clockshop, in close collaboration with CA State Parks. Invited artists are commissioned to create temporary artworks or performances that consider the unique physical properties of the site and engage in timely conversations about the future of the LA River.
Public Programs including the LA River Campouts and Reading By Moonrise provide opportunities for Angelenos of all ages to gather under the stars for traditional campfire programs and readings of new work from contemporary writers.
The Bowtie was formerly the site of a Southern Pacific Railroad train yard and maintenance facility. The railroad closed the facility in 1985, and the structures were razed shortly after, although some concrete foundational relics remain on site. The Bowtie is located along the 7.5-mile Glendale Narrows stretch of the LA River, which connects Los Feliz Boulevard with Figueroa Street. The Glendale Narrows portion of the river is âsoft-bottom,â meaning that it features a naturalized rather than a concrete bed. The site has been identified as a key location for river revitalization.
Through an exclusive partnership formalized in 2015, Clockshop and CA State Parks will continue producing cultural programs at the Bowtie Project for the next several years.
The CCF Fellowship for Visual Artists is celebrating 28 years of playing an active role in supporting local visual artists in Los Angeles.
Los Angeles County is rich with creativity. We are a community where cultures converge to create a beautiful mélange of originality, diversity, synchronicity and dissonance. This energy has helped establish L.A. as a world-class art capital and a place where we proudly practice, support and value a wide array of artistic endeavors.
The CCF Fellowship for Visual Artists is just one of many ways that the California Community Foundation supports the arts by supporting those responsible for its very creation â artists.
The Fellowship brings together artists, arts patrons, and the community, creating a mutually beneficial program that has supported 274 artists over the last 28 years. We invite you to get involved and celebrate an artist today.
Together, we help L.A. artists thrive.
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.
This small Book of Hours is especially interesting for its profusion of humorous drolleries. Humans, animals, and hybrids are featured in the margins of each page of the book. The artists rendered in small scenes a variety of actions, like cooking, playing game, climbing, fishing, making music or moving the bodies in a dance. These drolleries amuse the faithful during his prayers, while showing scenes that work as metaphors of the soul fighting the vices. The original female owner seems to have been established in the diocese of Cambrai, judging from the use of the Office of the Dead. Several provenance episodes are evidenced by the book in the signatures on the leaves at the beginning and end of the manuscript. A priest in the sixteenth century wrote a message in code on fol. 1v asking to return to him the book if lost. Members of the ducal house of Savoy owned this book of prayer in the seventeenth century, as evidenced by the gilt armorial shield of Charles Emmanuel II (1634-75), duke of Savoy, stamped on the covers.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
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
Mephistopheles in Phoenix - A mural seen on the side of Buster’s Market in central Phoenix, Arizona. What do you see in this image? A metaphor for our days in America. Next image shows context flic.kr/p/KoXzxY
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!
My hubby was never a confident swimmer but this holiday he managed to change things by swimming nearly every day and snorkelling out in the sea way past his depth (something he never thought he would be able to do). It wasn't that he couldn't swim or float, it was his fear of drowning that held him back so how did he get over it? By literally jumping straight into the deep end of the swimming pool. Something maybe more of us should do when conquering our fears with everyday life. I'm very proud of him, & I know he is very proud of his achievements as he now feels free of the fear he had ;-)
Each new year, many will reflect on their past and look forward to the future. Chickens, not so much. (2014:1/52)
(This is a re-post of the shot I deleted while playing around with Lightroom. Grrrrrr.)
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