View allAll Photos Tagged perception
AT ITS BEST!
weeoowww today was productive.
at 9.40 i had my hazards perception test at vicroads.
hamdellah i passed.
after that i went home.
took two naps, no seriously, two, i had a half hour nap then woke up moved a bit and had another half hour nap.
SO LAZY but it felt sooOoOoOo good!
after that i bussed it back to vicroads for my driving lesson.
it went for a half hour.
still feel like a kid in a truck in that giant mazda.
but i think i'm getting better at it. WE'LL SEE.
after THAT i trammed it to the golf range in bundoora where meena and momo were at.
it was so random but so fun!
hitting those golf balls as hard and fast as you can is THE best way to relieve stress i swear.
imagine someone and swing. LOL JK... (am i really joking now?!?! ooOOooooO!)
anyway. after hitting them balls we posed as professional golfers, or in my case, PROFESSIONAL HITWOMANS !
hahahehehehahha
after that we had worked up an appetite so we went on down to bundoora square and had a nandos fiesta AYAYAYYAY!
it was totally delicious.
then i went home.
and did...nothing.
hehe.
uni begins again tomorrow -saddest of sad faces-
D: D: D: D: D :
didn't study one bit :'(
I'M GONNA FAIL AHHH
oh well over it.
guten nighten!!!
taken on wednesday the 27th of april 2011 at approx 4.40pm with my phone.
lowe dese guises.
OH AND I'M UP TO DATEEEEEEE!
WEEEEE!
I'M FEELING SO INTO MY 365 NOW YAY!
Best Viewed On Black and Large
The Journey into the maximum aperture...
A prime lens, a maximum aperture of F1.2...the 85mm f1.2L mark 1 is truly a remarkable lens. I had a chance to borrow this lens from a friend and was astonished by its depth of field, clarity and colors.
This is my journey into the world of maximum aperture. All shots are taken from f2 to f1.2 mostly at f1.2 with iso50.
Thanks for viewing.
One of my little side-projects: photographing doors, in a project I call "Doors of Perception" (yes, I am a fan of The Doors).
Mingle Media TV and Red Carpet Report host Stephanie Pressman were invited to cover the 35th College Television Awards at the Leonard H. Goldenson Center in Hollywood recognizing excellence in college student-produced video, digital and film work.
The 35th College Television Awards ceremony was hosted by Playing House’s Jessica St. Clair and Lennon Parham, with Matt Bomer, of USA’s White Collar, Fox’s The New Girl, Max Greenfield, Key & Peele’s Keegan-Michael Key and Jordan Peele, Scandal’s Darby Stanchfield, Revenge’s Nick Wechsler, Dexter’s Aimee Garcia, Perception’s Scott Wolf and House of Cards’ Benito Martinez. Additionally, television industry professionals from FX’s Justified writer Graham Yost, Modern Family director Gail Mancuso and voice actor Bob Bergen were also on hand to present awards and give anecdotes about the industry.
The annual event is managed by the Television Academy’s charitable arm The TV Academy Foundation which was established in 1959 to preserve and celebrate the history of television, and educate those who will shape its future.
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About the College Television Awards
The College Television Awards is a national competition recognizing excellence in college student-produced video, digital and film work. Each year, hundreds of colleges and universities nationwide submit entries in a variety of categories. Winners are honored with a personalized trophy at the gala in Los Angeles, receive cash awards, industry recognition and the opportunity to network with top television executives. Entries are judged online by members of the Television Academy who are professionals working in each respective discipline. Viewing is restricted to competition judges and staff only. Finalists' work in each category proceeds to Blue Ribbon Panels for selection of winners in prior to the Awards Ceremony. For more info please visit www.emmysfoundation.org/college-television-awards
For more of Mingle Media TV’s Red Carpet Report coverage, please visit our website and follow us on Twitter and Facebook here:
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Perception Art Gallery is near downtown Grand Rapids at the west edge of the Heritage Hill Historic District. I photographed this rather charming sculpture on display in their picture window. on May 18, 2016 during a visit to to the city. Perception Art Gallery
View my collections on flickr here: Collections
Press "L" for a larger image on black.
Bloody black coutil corset features a late Victorian design with historically spaced straight front busk, two-layer construction with sandwiched, hand-flossed boning channels, and detailed back lacing including a floating modesty panel and silver grommets and aglets. And plenty of blood!
Standard sizing with the addition of an M+ size created specifically for very curvy avatars that don't fit into the standard sizes, and a Bx size for top-heavy avatars.
Available in-world at Perception and on the Marketplace.
copyright, 2012, Ferran Cubedo.
SALE OF PRINTED ARTS > : society6.com/ferrancubedo/Perception-Nature_Framed-Print#...
copyright, 2012, Ferran Cubedo.
SALE OF PRINTED ARTS > : society6.com/ferrancubedo/Perception-Nature_Framed-Print#...
One of my little side-projects: photographing doors, in a project I call "Doors of Perception" (yes, I am a fan of The Doors).
While there is perhaps a province in which the photograph can tell us nothing more than what we see with our own eyes, there is another in which it proves to us how little our eyes permit us to see.
~ Dorothea Lange
30 Days of Perception - Day 9
Today, it's all about stillness, both of mind and body.
I wanted to sit in a quiet place, just doing nothing - to see how long I could do this without wanting to move. I managed 15 minutes. No book, no telephone, nobody else there. I was in an open area in a small park and decided to sit motionless, just looking at the sky. There were trees a little way off from me, and as I sat very still, tiny birds started to get closer. They first flew to the trees and then landed on the ground around my bench, taking no notice of me at all. Had I become invisible?
In this age of always needing to DO something, it was a beautiful experience just to sit in stillness and BE.
Painting and markings:
A French service aircraft would have been the 1st choice, but all aircraft from that era were left bare metal – with the rough putty surface not the best choice, and it might have looked rather F-86D-style?
Camouflaged French aircraft came later, with the imported F-100s and the SMB2, and those were rather tactical schemes.
So, I looked for an alternative, also in foreign countries, and settled on Belgium. The real Belgian Air Force situation is described above, and one can only wonder why they settled for the huge and rather ineffective CF-100, as it only carried unguided air-to-air rockets on the wing tips, but no cannon at all. So, there would have been a place for a smaller and more agile night fighter in the BAF.
The paint scheme follows the BAF’s fashion of the late 1950ies: RAF-style, featuring a rather dark green/dark grey camouflage, with pale grey the lower surfaces, but not in BS colors, rather European NATO standard.
I settled for Revell 46 (RAL 6014, NATO olive green) and Modelmaster 2085 (actually RLM 75 - it is a tad lighter than Dark Sea Grey) as basic colors for the upper sides, and Modelmaster 2039 (FS 16515, Canadian Voodoo Grey) for the lower sides. This sounds like an odd combo, but after consulting real aircraft pics of that era the colors seemed to deteriorate quickly, esp. the green would bleach into even reddish hues and the grey turn very pale.
Consequently the aircraft was weathered thoroughly through dry-brushing the upper sides and the panel lines with several lighter tones. The green received a treatment with RLM 81(!) and Humbrol 155, esp. around the hot rear end of the afterburner extension, and the grey was lightened with Dark Sea Grey and FS 36231.
The kit also received a light black ink wash in order to emphasize contrasts - most details were painted onto the hull, as I didn't dare a new engraving on the mixed material underground.
After painting was done I could not help but consider the camouflaged Mystère IVN to look like a blown-up Fiat G.91T? Weird how a paint scheme affects perception! To be honest, I don’t find the paint scheme truly sexy, but together with the Belgian cockades and the red 350th Squadron markings the aircraft looks disturbing enough to make you look twice.
The cockpit interior was painted in dark grey, the landing gear wells and other interior surfaces were left in Aluminum.
The red and white wing tip pitots are a nice, colorful detail. I am not certain if these were unique to the IVN prototype, but I adopted them for my service version – and the stripes were taken from real world BAF CF-100s.
Tactical codes were improvised with single letters from TL Modellbau sheets. The squadron marking decals come from a Modeldecal aftermarket sheet (#100), they belong to a Belgian CF-100.
The roundels were partly taken from the same sheet, but also from a TL Modellbau roundels sheet, as the CF-100 insignia were much too large for the relatively compact Mystère IVN.
Khulna, Bangladesh.
The boys are observing something straight on a side, other the policeman is viewing (may be the lady over the opposite side of the road) on the opposite direction... but both are stepping ahead of their destination...
And yeah, It's a Rainy day... :)
A Rainy Song for all of You!
In this exceptional amalgamation of photography, ai, and painting, Duncan Rawlinson's work claims the spotlight. Strikingly rich hues pirouette across the intricate representation of an eye, composing a vibrant symphony that rivets the observer. Each precise brush stroke, imbued with influences from both photorealism and hyperrealism, crafts an enthralling fusion of styles. The piece stands as a testament to the power of creative vision, striking a perfect balance between art and the human gaze, enticing viewers into a realm that resonates with personal depth and universal appeal. Ultimately, this creation by Rawlinson isn't merely an image of an eye—it serves as a portal into the artist's soul.
Perception is a first-person narrative horror adventure featuring a young, blind woman who depends on her razor-sharp hearing to solve an ancient mystery and survive the forces that pursue her.
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I took advantage of the fact that it was raining in my office... I created a conceptual art piece called Perception Precipitation, consisting of paper towels, a leaking roof, the random pattern of rain on the paper and the sound of the water hitting said paper.
This piece, though simple looking, is fraught with meaning, commenting of the random interactions of the world outside of the workplace and how it lands on the desks of minions making their lives miserable, on how Nature overcomes Man's best efforts to order his world, and on how mutability (represented by water) inserts itself randomly on the orderly lives below (represented by the careful grid of paper towels) punishing them and affecting them randomly, changing them, and slowly destroying and wearing away their carefully pressed facades that they use to face the world and hide their inner selves.
Bids for this installation start at $400,000 (Daddy needs to pay fer a brand new house!).
Yesterday I saw a very faint shadow of the lampshade on the wall in the study. It was cast by diffuse sunlight coming through the north facing window. Paradoxical thoughts about perception and representation haunted my mind for the rest of the day.
What was I looking at? A lampshade ... a shadow ... the wall with all its scratches and smudge marks ... the join in the paper ... or a representation of a lampshade?
Representation
In order to 're-present' something there has to be an intention, in a human mind, to make a representation. For example, a painter would decide to take a brush, oils and a canvas to make the physical, palpable representation that would be referred to as 'the painting'. However, what I saw on the wall was not created through any human intention ... it just occurred by chance. There was no palpable, tangible object on the wall that I could detect with the sense of touch. So no intention had made it and I couldn't touch it ... so what I saw on the wall can't then be a representation.
Palpability test
But there was something there ... I could see it ... I photographed it. I had an intention to make a representation of what I saw so that I could share with you my dilemma of paradoxes. I used a device called a digital camera ... it reduced what I had seen to an invisible string of codes stored electronically inside the device. I used another device called a computer to tweak those codes so that what I had originally seen would be somewhat exaggerated and more likely to appeal to the aesthetic sensibilities of other humans living in this generation. As I looked at my digital representation on the computer screen I was underwhelmed ... it had none of the presence of the thing I saw. It was a representation of the thing I saw and displayed remotely on a computer it lacked palpability ... it was 'in my face' but it wasn't really 'there'. So I made a print on exhibition paper and it started to come to life and had some presence. I even put on it pencil marks to represent the label, ‘Graham’, that my late parents had given me all those years ago.
Print becomes code
Having made the print and stroked my hands on it and held it I considered its impact under different intensities and qualities of daylight. But now I have diminished its impact again by using a scanner to re-present that palpable thing as a digital image to be shared on Flickr and Facebook.
Why do I do this?
I'm still none the wiser about whether to define it as "a lampshade ... a shadow ... the wall with all its scratches and smudge marks ... the join in the paper ... or a representation of a lampshade" but I do now think I know why I went through that rigmarole. One of the intrinsic rewards I get from my photography is the satisfaction of curiosity and the enjoyment of playing of an intellectualised aesthetic game. I also realise now that I'm quite a show-off and so one of the extrinsic rewards for me would be the approbation of others.
An alternative hypothesis emerges
Which leaves me thinking what would others be seeing, my representations or "the thing itself"?
Is "the thing itself" a lampshade / shadow, a digital image of a lampshade / shadow or a print of a digital image of a lampshade / shadow?
Or is "the thing itself" not the thing photographed nor its representation but actually the spectator sport of someone playing an intellectualised aesthetic game?
Graham Barnes - 23 May 2017
With a faster Sense, how different would the World look for us?
Gedankenexperiment:
What if from another Point of View Everything is stillstanding - just on another Point of the Timeline? Perhaps Time and Space are one and the same..?
The Ventilator on the Left is exaktly the same as on the Right (same Speed), but it´s taken with Flash and the sekond One is without...