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Photographers are always looking for inspiration - it can be elusive - the last couple of weeks I have not felt much inspiration - but I know this feeling comes and goes and the only remedy is to keep shooting.
This image was captured at Little Austinmer about an hour south of Sydney - I have shot this location quite a few times but without much "luck". But persistence is key and so on this day I got "lucky" and we had beautiful light and water flow. It was a terrific shoot and I got a number of keepers and was able to experiment.
Processed in PS CC and captured on my Nikon D810.
Brendan is a amateur photographer based in Sydney Australia who loves exploring and shooting sea/andscapes/nightscapes in different areas sometimes with good mates other times by himself to improve his skills. I'm always after followers so don't be afraid to follow me on my photographic adventures.
Requested for publication by Mark Batty Publisher
for "Everyman’s JOYCE" of "W. Terrence Gordon, Eri Hamaji & Jacob Albert”
“Picasso merely shrugged and declined the invitation to illustrate an edition of Ulysses, dismissing Joyce as an obscure writer that all the world can understand ... Can, not does.”
Through the power of illustration the Everyman’s Series illuminates complex bodies of work by some of the 20th century’s most vital thinkers. Picasso’s assessment of James Joyce as a writer that “all the world can understand” speaks to how a perspective that favors the visual can see through dense texts, allowing meaning to take shape. W. Terrence Gordon’s examination of the James Joyce canon and its impact on the world, both in terms of literature and culture at large, provides accessible and singular evaluations of why Joyce, no matter how impenetrable his books may seem on the surface, continues to attract readers today. In Everyman's Joyce, Gordon’s close readings and biographical insight gel with contemporary visual cues that usher Joyce into the 21st century.
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Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
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Etude du jour:
(...) A ce jeu-là, on ne gagne que de jouer. Rien n'est plus transcendant que de rhizomer ensemble cette partie désespérément joyeuse, quoi que nous échangions, quand que ce soit. Seule la fin de la partie est virtuelle et définitivement sans la moindre signification.
Il n'y a pas de différences sans répétitions, pas de créativité sans engagement social. A ce jeu-là, on n'agit que dans les possibles, choisissant de respecter ou non des règles morales et/ou éthiques. A ce jeu-là, être c'est devenir ensemble, c'est conjuguer sans cesse la direction sans connaître la destination, dé-re-choisir, nous dé-re-territorialiser nous-mêmes le long de nos lignes de fuite. Nous ne sommes pas individuellement créatifs lorsque nous désirons une reconnaissance sociale. Nous sommes socialement engagés à être créatifs ou non, en essayant sérendipitueusement de contrôler le processus de transformation de ce qui existe. (...)
(...) While playing the Game, to play is to win. Nothing is more transcendant than rhizoming together this desperately joyful party, whatever we are exchanging, whenever. Only the end of the Game is virtual and definitively without any concrete significance.
There is no differences without repetitions, no creativities without social engagements. While playing the Game, we only act among the possibles, choosing to respect or not moral and/or ethical rules. While playing the Game, to be is to become together, incessantly choosing a direction without knowing our destination, dis-re-choosing, dis-re-territorializing ourselves along our chosen vanishing lines. We are not individually creative when desiring social recognition. We are socially engaged to be creative or not, trying serendipitously to control the process transforming what exists. (...)
(...) Mientras juguemos al Juego, jugar es ganar. Nada es más trascendental que rizomar juntos esta fiesta desesperadamente dichosa, Lo que fuere que estemos intercambiando, cuando fuere, como fuere. Sólo el final del Juego es virtual y definitivamente sin ningún significado concreto.
No hay diferencias sin repetición, no hay creatividad sin compromiso social. Mientras jugamos el Juego, sólo actuamos entre los posibles, eligiendo respetar o nó las reglas morales y/o éticas. Mientras jugamos el Juego, ser es hacerse juntos, eligiendo incesantemente una dirección sin conocer nuestro destino, des-re-eligiendo, des-re- territorializándonos a lo largo de las líneas de fuga que elegimos. No somos individualmente creativos cuando deseamos el reconocimiento social. Estamos socialmente comprometidos a ser creativos o no, intentando serendipiamente controlar el proceso que transforma lo que existe. (...)
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rectO-persO | E ≥ m.C² | co~errAnce | TiLt
Maitreya Mesh Body - LaraX
LOGO M.A.B.E.L.-6 Cybernetic Head
[LANEVO] Midnight robotic parts
A&Y Cyber Queen - Rebirth - White hair
Skin: Astra from Not Found
::WD:: Dress Emery (includes panties) - **New in the Lucky Chairs--other colors are half price** Rigged for Freya, Kupra, Legacy, and Maitreya maps.secondlife.com/secondlife/Lyra/162/247/22
::WD:: Steampunk Headphones come with an extensive color change hud, and they are animated!
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Find them here: maps.secondlife.com/secondlife/Lyra/189/250/22
/Vae Victis\ - "Gregori" - Ghostly Lawn Flamingo
:LW: Bento Poses - Spring Queen, mirrored
Location: The Wastelands maps: secondlife.com/secondlife/North%20Yard/146/80/57
Windlight: Specter essence PBR
Persistence pays off. There were a couple of Long Tailed Sylph's visiting the feeders. It took me a little while to find where they were likely to perch between feeds. It took even longer to find a Sylph in a position where I could capture the entirity of the tail. Eastern Andes, Ecuador.
I spied the little fella yesterday as I was cleaning out a flower bed, noted his beauty, and since then at length have considered his lesson. This morning as I set out for another day of yard clean-up, I carried my camera down the stairs with me for I was remembering from yesterday this little creation.
He is trying to be a tree.
He was ordained to be a tree, and somehow in his “guts” he knows he is destined to be such a living thing. It is in his genes, his DNA. Even so, it has not been easy for him. Blog post continues writenow.wordpress.com/2017/05/19/trying-to-be-a-tree/
Persistence of time reflected on sea waves. Taken in Mirasol Beach in Chile. Joint project with Ximena de Toro.
The photograph turns an ordinary outdoor stairway into a study of age, texture, geometry, and persistence. Nothing dramatic is happening, but the arrangement rewards close looking.
The visual interest comes from several contrasts:
Organic versus constructed: weeds and fallen leaves occupy a structure made from stone, timber, and metal.
Old versus new: the worn, irregular steps contrast with the smooth, rigid railing.
Warm versus cool: orange-brown leaves and rusted surfaces stand against blue-gray stone, black metal, and pale sky.
Horizontal versus vertical: the broad stair treads form strong horizontal bands, while the railing divides the frame with severe vertical and diagonal lines.
Order versus disorder: the stairs and railing impose a system, while leaves and plants spread unpredictably through it.
Formal analysis commonly considers line, shape, color, texture, form, and space; all are unusually prominent here.
Description
Weathered outdoor steps rise across the frame in layered horizontal tiers. Their surfaces appear to combine rough stone or concrete with heavy, dark timbers. Dry leaves have collected in the recesses, forming streaks and clusters of copper, ochre, and brown.
Small plants emerge from gaps between the steps and around the retaining wall. A black railing rises near the right side, while a bright metallic handrail enters diagonally from the lower right and continues beyond the upper edge. Behind the upper wall are grasses, tree foliage, and an overexposed area of sky.
Strong sunlight strikes the upper surfaces and leaves much of the lower stairway in shadow, emphasizing relief, erosion, cracks, and accumulated debris.
Discussion
Composition
The stair treads create a slow upward visual movement from bottom to top. That movement is interrupted by the railing, which acts almost like a graphic barrier across the naturalistic scene.
The large diagonal silver rail is particularly assertive. It appears close to the camera and partly blocks the steps. Rather than functioning merely as an obstruction, it creates depth by establishing three spatial layers:
the near railing,
the stairs and leaves,
the trees and sky beyond.
The black vertical post sits close to the right third of the frame and provides a stable structural anchor. The image therefore feels organized even though its subject is decay and scattered vegetation.
Texture
Texture is the photograph’s strongest quality. The viewer can distinguish:
rough masonry,
cracked and grainy timber,
brittle leaves,
smooth painted metal,
reflective bare metal,
delicate stems and grasses.
The raking sunlight makes these surfaces appear tactile. Tate describes texture and mark-making as important visual components that can range from controlled structures to irregular patterns; here, actual weathering performs the role that marks might perform in a drawing or painting.
Subject and meaning
The image can be read as a modest urban landscape about time and adaptation. The stairs were constructed to control movement, yet leaves, soil, and plants gradually reclaim every available opening. The plants are not presented as a grand wilderness. They are small, opportunistic, and persistent.
There is also an element of ambiguity. The stairs imply a destination, but the photograph does not show where they lead. The railing suggests human passage, yet no person is present. This gives the scene a slightly abandoned or transitional character.
As art
The photograph works best as an observational study rather than a conventional scenic view. Its subject is not simply “stairs”; it is the relationship between repeated forms, accumulated material, and encroaching vegetation.
The composition is intentionally somewhat uncomfortable. The bright rail is large, close, and partially obscuring. That prevents the scene from becoming picturesque. It makes the viewer conscious of standing beside the stairway rather than looking at it from an idealized distance.
Taken at the north unit of Theodore Roosevelt National Park in North Dakota, USA. Taken on the buckhorn trail.
You can really just point your camera at random at Theodore Roosevelt and take an interesting picture. There's so much to see everywhere.
In 2023 I'm using as many of my half-frame cameras as I can. This was taken with the new Kodak Ektar 35H half frame camera. Stylistically it's based on the Kodak Instamatic cameras from the 1960s and 70s.
The film is Kentmere ISO 100 developed in Rodinal 1:50 for 15mins at 20 degrees.
Giant replica of Salvador Dali's 'Persistence of Time' sculpture in Piazza San Francesco, with the church of San Francesco d'Assisi in the background.
Matera, Italy
IMG_1256-2
Hi everyone!
Vincent Van Gogh is my personal hero. I admire his courage and persistence to become the artist he envisioned himself to be. However troubled his life was, he kept on painting and drawing. In many ways his life relates to mine. The quote I picked for today is a good one. It reveals...
For the entire post go to www.danielnovotnyart.com/?p=1995.
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Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
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Study of the day:
On s'assoit sur une dune de sable. On ne voit rien. On n'entend rien. Et cependant quelque chose rayonne en silence (...) Ce qui embellit le désert c'est qu'il cache un puits quelque part.
One sits on a sand dune. One sees nothing. One hears nothing. And yet something shines in silence (...) What embellishes the desert is that it hides a well somewhere.
( Antoine de Saint Exupery - Le Petit Prince - 1943 )
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regarde bien petit
© Jacques Brel - 1968
regarde bien petit, regarde bien sur la plaine là-bas à hauteur des roseaux
entre ciel et moulins y'a un homme qui vient que je ne connais pas
regarde bien petit, regarde bien
est-ce un lointain voisin un voyageur perdu
un revenant de guerre un montreur de dentelles
est-ce un abbé porteur de ces fausses nouvelles qui aident à vieillir?
est-ce mon frère qui vient me dire qu'il est temps
d'un peu moins nous haïr ou n'est-ce que le vent
qui gonfle un peu le sable
et forme des mirages pour nous passer le temps
ce n'est pas un voisin son cheval est trop fier
pour être de ce coin pour revenir de guerre
ce n'est pas un abbé son cheval est trop pauvre pour être paroissien
ce n'est pas un marchand son cheval est trop clair
son habit est trop blanc et aucun voyageur
n'a plus passé le pont depuis la mort du père, ni ne sait nos prénoms
ce n'est pas mon frère son cheval aurait bu
non ce n'est pas mon frère il ne l'oserait plus
il n'est plus rien ici qui puisse le servir
non ce n'est pas mon frère, mon frère a pu mourir
cette ombre de midi aurait plus de tourment s'il s'agissait de lui
allons c'est bien le vent qui gonfle un peu le sable
pour nous passer le temps
regarde bien petit, regarde bien....
y'a un homme qui part que nous ne saurons pas...
il faut sécher tes larmes
y'a un homme qui part que nous ne saurons pas...
tu peux ranger les armes
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rectO-persO | E ≥ m.C² | co~errAnce | TiLt
"Time don't have nothing
To do with how high you can
Time don't got nothing
To do with how high you can count
Time and life
Life and time"
[Anthrax, "Time"]
Persistence and Patience in Prayer
Ecclesiastes 7:8; Romans 12:12; 1 Corinthians 15:58
It is not enough to begin to pray, nor to pray aright; nor is it enough to continue for a time to pray—but we must patiently, believingly continue in prayer until we obtain an answer. And further, we have not only to continue in prayer unto the end, but we have also to believe that God does hear us and will answer our prayers. Most frequently we fail in not continuing in prayer until the blessing is obtained, and in not expecting the blessing.
GEORGE MÜLLER
Elliot Ritzema and Elizabeth Vince, eds., 300 Quotations for Preachers from the Modern Church (Pastorum Series; Bellingham, WA: Lexham Press, 2013).
Hispaniola, a Caribbean island smack dab in the hurricane belt, is known as the hurricane shredder. That's because the island has five distinct mountain ranges, with Pico Duarte, at 10,128 ft (3,087 meters) above sea level, as the highest peak in the Antilles. These mountains literally reach into passing hurricanes and disrupt the system, not only slowing the system, but literally shearing and destabilizing the directional winds with their immovable presence.
The mountains of western North Carolina affect weather in much the same way... this tree from along the Craggy Pinnacle trail at Craggy Gardens gives evidence of that. I've watched from the top of Craggy Pinnacle as cold air from the west collides with warm air from the east... clouds form, swirl, and move off directly overhead of these high ridges. These mountains often divert harsh colder weather north into Virginia, which is partly why we enjoy overall temperate weather where I live in Durham, some 200 miles east of here. Often, when it snows in Durham (which isn't very often) it has already snowed further south in Atlanta, Georgia. Those frontal systems push under the Appalachian Chain, meet warm air from off the coast, and push back up into North Carolina. These kinds of frontal collisions produce wind, and in the case of where this photo was taken, that wind is quite incessant and often high speed... that, along with cold temperatures and low clouds, can create a pretty harsh environment.
Patience is a necessity for any nature photographer... here, even the most patient can become quite frustrated waiting out the combination of "just right" light and wind. This tree, however, exhibits the ultimate in patience. The trail follows the ridge for a good ways, but from about where this tree is, the ridge rises sharply with many exposed rocks dominating that rise. That's obviously of no matter to this tree as it wraps its roots around the rocks to firmly establish its place on the mountain... it persists against the harsh elements and won't be bullied by the wind as it protects the understory beneath it.
Craggy Gardens, near milepost 375 on the Blue Ridge Parkway, is so named because of the proliferation of beautiful Catawba rhododendron that grow there... but, as with many things, there are stories within stories that shouldn't be missed. Be sure to see the notes here.
In my garden I have a patch of hens and chicks. They're nestled amongst these stones at the base of an oak stump. When the tree fell the Virginia Creeper that covered it fell with it, but soon made a comeback. A week ago, I pulled it out and the roots ran so deep that I ended up dislodging my entire hens and chick family. I replanted them, and transplanted the Virginia Creeper. Today I see that it has made a comeback. Persistant little thing, isn't it? :D
31/365
this tree across the street has the most persistent leaves...i wonder if they'll ever fall?
i see them as a gentle reminder to be unwavering in my determination. especially in winter when all i want to do is curl up with a warm mug of something delicious and read....
Several of the trees hold their leaves for a long time...the Japanese maple and the oaks. Soon even these will let go.
Solved by balsamia / Trine / ThioOof / KaRiNe_Fr / PhotoGraham / Zolurne / and you ?
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Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
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R i d d l e of the day:
[ it ]
Di nuovo a Firenze ... stop.
Da Parigi, New York, Washington, Tokyo, Mosca, Parigi, ... stop.
Scalo Milano, incognito ... stop.
Chi sono io ?
[ uk | us ]
Back to Firenze ... stop
from Paris, New York, Washington, Tokyo, Moscow, Paris, ... stop
Stopover Milan, incognito ... stop
Who am I ?
[ fr ]
De retour à Florence ... stop
depuis Paris, New York, Washington, Tokyo, Moscou, Paris, ... stop
Escale à Milan, incognito, ... stop
Qui suis-je ?
[ es ]
Volver a Firenze ... Stop
De Paris, Nueva York, Washington, Tokio, Moscú, París, ... Stop
Escala de Milán, de incógnito ... Stop
¿Quién soy yo?
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rectO-persO | E ≥ m.C² | co~errAnce | TiLt
__________________________________________
Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
__________________________________________
Study of the day:
"... The production of motive power is due, ... not to an actual consumption of calories, but to its transport from a warm body to a cold body, ie to restore its balance, balance assumed broken for any reason whatsoever ... it takes place not only for steam engines, but for all fire machines, ie for any machine which engine is the caloric. The heat can obviously be a movement source only under the changes in volume or form it causes to the bodies, these changes are not due to a constant temperature, but due to alternatings between heats and colds, yet to heat any substance one must have a warmer body , and to cool it, we need a colder body. ... "
( Sadi Carnot - 1824 - Thoughts about the motive power of fire and about the machineries able to develop this power. )
"... La production de la puissance motrice est donc due, ..., non à une consommation réelle du calorique, mais à son transport d’un corps chaud à un corps froid, c’est-à-dire à son rétablissement d’équilibre, équilibre supposé rompu par quelque cause que ce soit, ... cela a lieu, non seulement pour les machines à vapeur, mais aussi pour toute machine à feu, c'est-à-dire pour toute machine dont le calorique est le moteur. La chaleur ne peut évidemment être une cause de mouvement qu'en vertu des changements de volume ou de forme qu'elle fait subir aux corps ; ces changements ne sont pas dus à une constance de température, mais bien à des alternatives de chaleur et de froid : or, pour échauffer une substance quelconque il faut un corps plus chaud qu'elle; et pour la refroidir, il faut un corps plus froid. ..."
( Sadi Carnot - 1824 - Réflexions sur la puissance motrice du feu et sur les machines propres à développer cette puissance )
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A C T I O N of the day : Sign up the petition & tell your friends to do so . .
G A Z A _ : _ A R R Ê T E Z _ L E _ M A S S A C R E _ !
G A Z A _ : _ S T O P _ T H E _ B L O O D S H E D _ !
Avaaz means “Voice” in many Asian, Middle Eastern and Eastern European languages. Avaaz.org is a new global web movement with a simple democratic mission : to close the gap between the world we have, and the world most people everywhere want.
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and more . .
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La bêtise et le cynisme sont-ils les derniers noms d'Entropie ?
En Birmanie ? En Chine ? En Tchétchénie ? A Guantanamo ? A Gaza & Ashkelon ? . .
. . ou dans notre vertueuse Europe, qui donne des leçons de Droits de l'Homme . .
. . tout en méprisant, traquant et rejetant ses propres . . indésirables ?
Are silliness and cynicism the last names of Entropy ?
In Burma ? In China ? In Tchétchénie ? In Guantanamo ? In Gaza & Ashkelon ?. .
. . or in our virtuous Europe giving human rights lessons
. . while scorning, tracking and rejecting our own . . unwelcomes ?
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| . rectO-persO . | . E ≥ m.C² . | . co~errAnce . | . TiLt . |