View allAll Photos Tagged perception
One of my little side-projects: photographing doors, in a project I call "Doors of Perception" (yes, I am a fan of The Doors).
Lost&Found™ Embroidered Furniture, The Making Of Lost&Found™ Embroidered Furniture, Handmade, Craft, Tangible Interfaces, Visual Perceptions, Decoration, Surface Texture, PC Boards, Woodwork, Spray Room, Preparation, Analogue, Digital, Artisanal Techniques, Handmade Elements, Jewels, Re-Worked Objects, Assembled Objects, Found Objects, Eleanor-Jayne Browne, The D/sign Lounge
Today Flickr Group Roulette invades the Off With His Head group. It is also the letter P in the August Alphabet Set and so I give you this shot. I have not actually lost my head, that is just your pereception of this image.
Ok, So not very creative this evening. I had a couple of ideas that I wanted to try for this, I shot them twice and edited but it just wasn't right. So I shot this one, however I really struggled trying to make it look seamless, but it is here and it is staying as I am not going a forth attempt!
*** strobist Info ***
SB600 on manual on 1/16th behind me shooting upwards to seperate me from the background, SB28 on manual on 1/16th on a stool infront of camera pointing upwards with bounce card to light me, both fired by ebay trigger.
Perceptions is all about the way we see things. We make split-second decisions based on what we believe we see, this may not always be what is going on but it is what we perceive.
This photo was taken (around a year ago; 20/01/2011) on top of the Signal Mountains in Mauritius.
What i tried to capture (and managed) was, the colours Red (chemical container) Blue (Sky) Yellow (chemical container) and Green (Grass). These are the four colours which feature on the national flag of Mauritius. That's one perception. The second one being, Pollution in Mauritius. How the hell and why did a chemical container end up on a mountain? This is my perception.
Located near Neuss in North Rhine-Westphalia, Germany, Museum Insel Hombroich is a unique open-air art and nature sanctuary operating under the motto "art parallel to nature." Established in 1987 by real estate developer and collector Karl-Heinrich Müller, the museum spans over 60 acres of restored meadowland, woods, and wetlands along the Erft River. Instead of a traditional museum building, art is integrated directly into the landscape, encouraging visitors to wander down winding paths and discover art organically as they explore the natural environment.
The site features a series of minimalist brick exhibition pavilions designed by sculptor Erwin Heerich. These structures act as walk-in architectural sculptures themselves, characterized by sharp geometric lines, unplastered brickwork, and large cutouts that frame views of the surrounding wilderness. Inside, the galleries rely almost entirely on natural daylight. The museum’s extensive collection intentionally mixes eras and styles without conventional museum labels, placing modern masterpieces by artists like Kurt Schwitters, Jean Fautrier, and Alexander Calder alongside ancient Khmer sculptures and traditional African art to foster intuitive, unmediated connections.
What truly sets Insel Hombroich apart is its radical commitment to distraction-free contemplation. There are no signs, direction arrows, or descriptive plaques next to the artworks, forcing visitors to rely entirely on their own perception. The sensory experience is intentionally quiet and unhurried, punctuated only by a rustic cafeteria that serves simple, complimentary local food like bread, jacket potatoes, and apples to all guests. It functions less like a tourist attraction and more like a meditative retreat where art, architecture, and the natural world blend into a single, cohesive ecosystem.
It's such a hot day. Can you turn the air on?
I would, Edna, but it's not working .
Not working? Well then have someone come fix it!
I would, but. . .
But what, Wtanley? I need air conditioning!
Well, you have to close the windows first, and. . .
I know that! Don't you think I know that?
Well, I'm just saying. That might not be possible.
And why not?
It's the window glass. I mean, the absence thereof. . .
Men! It's always something with you!
Yes, dear. I know.
Today I had the pleasure of running into my old friend Sue. Sue founded and directed The Troupe, Michigan Tech's improv group, for many years. In that role, she was an amazing mentor and friend. Now that she's retired, she (among other things) creates beautiful felted works of art -- including this one, which recently won the jury's first place award at the Great Lake Showcase. Its name is "Perceptions", and everything you see is felted wool.
You can find more details about each photo at Cliffs and Ruins, my photo-a-day blog! If you like my photos, please visit my photo store: David Clark Photography. © David Clark, all rights reserved.
"Perception" performs at Improvapalooza as part of the Washington Improv Theater, located at the Source Theatre.
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Users wishing to use these photos in violation of these terms shall contact me to discuss exemptions. Members of Washington Improv Theater may permit others to use these photos provided the two conditions are met.
Personal Fine Art Practice
Perception detail- Interactive installation
Approximately 2m by 1.5m by 2.5m
Nylon mesh, soil, liquid latex, straw and grass
Summer term
“The material basis of media technologies – and books are only one example – is changing, for which historical perspectives might give not only comforting back-up (‘nothing is as permanent as change’) but also ideas to push the change forward.” (Jussi Parikka, 2012)
We can certainly talk about change; our present landscape is a space where the digital and physical have become synonymous, which many believe to be signaling the coming of an ontology-less future, through the accelerated disruption of cultural value. In this light old standards show their age and obsolescence in the face of the new, and with each new wave of informational overload we are further alienated by the system, that revolves around an economy of monetary circulation. All these factors come together to push a re-evaluation of identity and the human value. This brings to mind the genealogy of currency, articulated by Joseph Beuys during the discussion entitled What is money? : “Of course ‘Geld’ [‘money’] comes from ‘Gold’, same etymology. But it comes equally from ‘Geltung’ [‘validity’], meaning the value people fix based on their perception of a natural right. The word ‘Geltung’ is rooted in representations of a natural right, while the word ‘Gold’ is rooted in the economy of barter!” (Joseph Beuys, 2012).
In this light, Geltung [validity]: perception of a natural right brings together four artistic investigations that re-evaluate established methods of financial exchange bestowing new material values and identities to their subjects. In a landscape where monetary currency is pinnacle, the artists interrogate notions of personal and individual history, locality and its impact in identity and the framework that contains our cultural objects.
Diogo da Cruz’s work, WORDCOIN (2016 – Current), proposes the implementation of a new currency, that will give a literal value to each one’s speech. By creating The Bank for Argumentation, the costumer-museum-goer will have the opportunity to trust his or hers arguments to an institution that can save and trade them, giving the deserved and objective exposure to their ideas. Max Dovey presents Breath (BRH) (2017), a digital currency that is mined through human respiration. The installation combines breathing and micro-computers to mine, store and trade human breath as a virtual currency on the crypto-market(s). The market value of BRH is determined by the inflation created by respiratory miners who participate in the physical installation. Felicity Hammond’s artworks draws upon images from her own archive, using documents of the landscape and found images online; those of both existing and imagined future spaces. Hammond utilises particular motifs and structures that respond specifically to the digital representations found online of Dundee’s vast regeneration programme. For I keep forgetting I’ve been to Tokyo: GAIDEN (2017), Petra Szemán follows the virtual self through parallel and intersecting realities, along the departure-initiation-return structure of a hero’s journey. Drawing upon personal and/or constructed experiences, the work explores the idea of a non-localised identity that’s an archive of accumulated personal mythologies acquired from a multitude of realities.
An offline/online exhibition curated by Alejandro Ball and Inês Costa
Opening night: 27 October 2017, 7pm – 9pm
Performance part of NEoN Festival: 9 November 2017, 7pm – 8pm
Supported by Creative Scotland, University of Dundee and Leisure and Culture Dundee
The media influences the way we perceive ourselves. Although we might look one way, due to the media, our perfection of our body is flawed.
ND1495.P8.B57 1986
The most vital recent information on the relationship of visual perception to color expression in art is presented here in clear detail. Faber Birren, one of the best-known colorists of our time, prepares us for what he believes will be a new era of color expression. Pioneered by gestalt psychology many secrets of the brain are rapidly being discovered, resulting in creative new principles of color. The book is divided into three sections. First the history of nineteenth-and twentieth-century color expression is traced from Turner through Impressionism to Op Art. Next the parallel history of color theory is covered. Finally, the new concepts and interpretations of illumination, color constancy, adaptation, and the Law of Field Size, which created a revolution in the possibilities of color expression in art and their aesthetic implications, are discussed. These sections are supplemented by numerous black and white photographs of representative paintings, explanatory line drawings and the abstract, geometric color plates themselves-of the incomparable beauty and quality that are the hallmark of Faber Birren.
This poster was created for a FotoFest exhibition titled Mechanical Perception featuring photographic work by Mei-Mei Dillard, Eileen Maxson, Brian Piana, Soody Sharifi and Anderson Wrangle. These artists are also alumni from the University of Houston Photo/Digital Media program hence the lineup for this show. Mechanical Perception exhibition runs from September 5 – October 12, 2008 at the FotoFest Headquarters.
This was one of my first poster outside the usual Nameless Sound or rock music poster; this being one for a local art space. This was also the first poster that I created my new studio space, Box 13 ArtSpace. It was challenging to work in a new yet smaller studio space. As you can see, there are no drying racks so I had to lay everything out on the floor. Hopefully I can get a drying rack in the future.
This was from the final night just minutes after completing the final color run of just the text. I had difficulties trying to get the emulsion to develop properly and it would be my luck that it was the final color, too. But this night, everything worked and I finished within a couple of hours.