View allAll Photos Tagged sensitive
Whose leaflets progressively collapse, sometimes throughout the whole plant, once one leaflet is touched.
The 80th, 20 days before the 100th that's incredible. I'm a little nervous with the beginning of my intership monday. My luck : spring and summer days are longs, when I'll finish my work day I could enjoy the sun again. But when I saw around the company and my new ride to go over there... no inspiration, not really beautiful. *fear*
I have to do it.
Have a nice week-end everybody !
//
La 80ème, 20 jours avant la 100ème c'est incroyable. Je suis un petit peu nerveuse avec le début de mon stage lundi. Ma chance : les journées printanières et d'été sont longues, quand je fini ma journée de travail je pourrai encore profiter du soleil. Mais quand j'ai vu les alentours de l'entreprise et mon nouveau trajet pour aller là-bas... aucune inspiration, pas vraiment beau... *stress*
Je dois le faire.
Bon week-end à tous !
He's still in here.
Yesterday I was feeling incredibly anxious and relieved. It was a total mixed bag of emotions. Lucy was so early and unexpected that I didn't really have time to think about it. Other than I knew I was scared and with good reason.
So I have been taking things a little slower this week. I still have a list of things to do - namely cleaning and installing the car seat and packing for the hospital. My belly button was super sensitive and I started thinking that I was tired of having all of these lists. I just want to be finished and rest. And maybe I was crazy for having another baby.
Now that the surprise end was not in sight, what if I never feel normal again. And even once I have the baby, you still don't have your body back for a while. Long story short, the days Lucy doesn't go to pre-k are exhausting. I'm exhausted. Someone please confirm that not being pregnant is way better than being pregnant, because I have forgotten. Even though deep down I know it's true. But nine months is a long time. Having a baby is no joke.
I admitted to Henry last week that I needed some tapping. Tapping is like emotional acupuncture. You say a series of statements while tapping on specific parts of your body. Somehow it clears your feelings associated with a fear - like dogs, tornadoes or airplanes. Essentially the closer I get to the birth, the more I realize that I have PTSD from Lucy's delivery. Yet, I probably should not be this freaked out for the second.
I learned tonight that my Physical Therapist's office offers tapping. I was ecstatic! I made the first appointment available, which is on Monday. Woo-hoo! Just knowing I have the appointment gives me a huge sense of relief. And I think we can hold on until Monday or 38 weeks. That's even better, because I hope to skip the jaundice stage this time.
The Sensitive fern (Onoclea sensibilis), also known as the bead fern, is a coarse-textured, medium to large-sized perennial fern. The name comes from the observation by early American settlers that it was very sensitive to frost, the fronds dying quickly when first touched by it. It is the sole species in the monotypic genus Onoclea.
Description
"Beads" of the Bead Fern Onoclea sensibilis
The sterile and fertile fronds of this fern are quite different. The bright, yellow-green sterile fronds are deeply pinnatifid and are typically borne at intervals along a creeping rhizome. They grow to about 90 cm long, with a long, smooth stipe. The fertile fronds are much smaller, non-green, and have very narrow pinnae. The sori are clustered like beads or grapes on the upright fertile fronds, hence the common name Bead fern. The fiddleheads are a pale red color.
Habitat
This fern dwells in a variety of wet swamp and wood habitats: wet meadows, thickets and bogs, as well as stream and riverbanks and roadside ditches. It ranges from Newfoundland to Florida and west to Texas, North Dakota and Manitoba, but is also native to east Asia and has become naturalized in western Europe.
It grows best in a shaded or partially shaded area in a moist soil. The plant will tolerate wet soils and so can be used near water. Winter survival will be enhanced if the dried fronds are left on the plant through the winter. Sensitive ferns spread to form colonies and are often the first species to inhabit disturbed areas. They can become weedy if not sited properly. In shade it can tolerate dryer conditions, but if grown in full sun it practically needs to be in soggy ground or at the very edge of water.
Onoclea sensibilis is also a facultative wetland indicator, toxic, and a host to the pathogen which causes bacterial wilt in rice.
Richter Lake Hemlocks
Wisconsin State Natural Area #468
Chequamegon-Nicolet National Forest
Taylor County
sueños mutuos
sueños urbanos
sueños burdos
sueños de anataños
rurales,
castrastroficos y sexuales -
Model: Luzonirik_77
Metro Valparaíso
Through Window touch sensitive products brochure - attract passers by to your shop and product offerings with the help of the visualplanet touchfoil™, easy to install.
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EXPLORE #326
Model: Silvia (aka GirlAi)
Una delle ragazze più dolci, sensibili e carine che io conosca... anzi, LA PIU' dolce sensibile e carina! Credo che i suoi occhi e il suo sorriso parlino per lei...
===
One of the sweetest, more sensitive and cutest girl I've even known...no, I meant THE sweetest, more sensitive and cutest girl ever! Her eyes and her smile talk for her...
This year, cancer will attack and kill more than 560,000 people in the United States. It is the second leading cause of death in this country. Researchers at Pacific Northwest National Laboratory are developing new stimuli sensitive polymers to deliver therapeutic agents directly to the cancer tumor site, minimizing the side effects caused by whole-body cancer treatments. These new polymers remain in a liquid form when dissolved in water, but form a solid gel under various stimuli such as body heat.
For more information, visit www.pnl.gov/news/
Terms of Use: Our images are freely and publicly available for use with the credit line, "Courtesy of Pacific Northwest National Laboratory." Please use provided caption information for use in appropriate context.
Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Cristo Redentor 2014
„VideoInstallation by Philipp Geist“, "Philipp Geist", „Copyright 2014 Philipp Geist / VG Bildkunst 2014", www.videogeist.de, mail@videogeist.de, „Rio de Janeiro“, "Santa Marta“, „Cristo Redentor“, „Dona Marta“, „Deutschland + Brasilien 2013-2014“, “Alemanha + Brasil 2013-2014”
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
The Place Nightmares Are Made Of
Sometimes life seems similar to a paint bucket minus the lid, being so sensitive to any movement around it, and though I may not have completely learned how to take full control of my own, sometimes having a couple of bumps and spills, I know that I am still doing something right, I mean, I must be. See, every time I look at where I left off, all I can say is "right on," because I write off the bad right off the bat. I keep the good memories for bad moments, and sometimes even these bad moments can create good memories of their own. See, life is a hectic and jumbled mess of shit and shining silver. Becoming sad in moments is great though, it shows you're still very much alive and capable of human emotion and compassion, not only that, but more often than not, there is something to be learned from it. Kind of like when you leave your car under the wrong tree in summer, while birds nest above for hours.
The sad sight of these post-apocalyptic scenes is, at times not far off from such similar a thought. I find beauty in these sad and desolate locations, while a lot of people may find them rather unsightly, I look past the cracking faces to see beauty within them. We must find a certain charm within this great sadness to truly be able to find full allure and happiness through the entire world surrounding us. The forgotten are a unique collection, each one being different than the last, thus how we are as people. Everything might look devastatingly broken before your eyes, but picture the good times, wonderful memories and history. Remember that not everything around you is broken like this, and if you learn to find beauty in this destruction, it will be so much easier to find beauty and happiness outside of it.
People previously contained within these particular walls had not been given the same gift that you and I have; the gift of free will to roam our Earth. As we enter a small town nearly 2 hours from Atlanta, we find ourselves amidst silent destruction, sat centered atop a hill within a desolate Southern town. The sweltering heat made it a sweaty chore climbing the hill headed up to the sanitarium, but at least this time we had some decently fresh water accompanying us in our backpacks. The fact that such a large structure had been left behind to collapse under the Georgia heat was alone an odd sight, but yet stranger, how incredibly quiet the town surrounding it sat. The only sounds filling the air were the slow dragging of our feet along the dusty ground of cracking sidewalks and the constant buzz of cicadas echoing from an overgrown path leading directly to the woods, where a road had previously sat.
Doors fitted with rotating and locking food trays lined multiple hallways. These same doors had previously been containment for the most insane of patients, while still providing a grated hole near their top so that doctors could observe all actions and behaviors. This is the place nightmares are made of.
While most of this empty building lays in ruination through peeling paint, rusted doors and barred windows, a separate side, practically an alternate version of time itself remains sat at its top floors. In this alternate version of time, walls have begun to fall in, while the ceiling overhead resembles a naturally created sunroof, minus the glass, spanning entire lengths of numerous hallways and rooms, inviting the sun above to shine brightly inside. Many windows have abandoned their rusted bars, tossing most of them to a floor now covered in crusted ceiling and overgrowth, while trees push through sinks, vines find their way towards the holy ceiling and gardens reside vibrantly coating fractured porcelain bathtubs. As I observe life all around me reaching in through windows with a bright emerald glow, I realize something…this silence alone could drive one insane. Has it always been this quiet? Has the neighborhood always been so void of any other life, and were people subject to sit here, feeling completely alone? Since these dark days, this type of treatment and practice has been mainly phased out, but one can only wonder what it must have been like inside a madhouse such as this.
Now an odd jungle of destruction, the building will slowly deteriorate, years from now becoming nothing more than ruins. Sometimes I wonder though, am I truly part of this perceived reality, or am I stuck inside a room, picturing life in some altered frames of my unconscious mind? Any one of us could be so insane that we will never know it…perception is a strange thought.
"Watch out. The gap in the door... it's a separate reality. The only me is me. Are you sure the only you is you?" - Silent Hills
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Introduced, yearlong-green, perennial, erect legume; to 1 m tall. Leaves have 3 leaflets, each to 30 mm long and with toothed margins near the tip; the stalk of central leaflet is longer than the two lateral ones. Flowerheads are racemes of 20-30, mostly purple, pea-like flowers. Pods are cylindrical and spineless, with 2-3 coils. Flowering is from spring to autumn. A native of the Mediterranean and Asia, it is sown on deep well-drained soils (e.g. alluvial flats) and is naturalised along roadsides. Does not like acid soils with a pHCa below 5 and is very sensitive to aluminium to depth. Deep-rooted, high quality, high production potential legume, it is suitable for hay, silage, grazing and cropping. Varieties vary in their winter dormancy and disease resistance. There are a number of leaf and crown diseases which can affect lucerne stands on the coast, so careful variety selection and stand management is essential. Poor basal cover of pure lucerne stands can lead to erosion. Weed competition can severely reduce lucerne establishment – plan well ahead. Causes bloat in cattle and photosensitisation in horses. Requires rotational grazing for best production and persistence. Cut or graze at 10 per cent flower or when crown shoots are 1-2 cm long on 50 per cent of plants. Do not graze below 5 cm. Back fencing aids persistence and production when used for grazing.
2018 collection
chaos
kamikaze(the breath of God) freeform
speed knitting & crochet fusion
intuitive sensitive
guerrilla style coat
for brave divas
with creative attitudes
How I use instax in 9x12 plate cameras.
I later either hand roll the chemicals across or use an instax camera to roll them in a darkroom.
They love deeply and think deeply about life. They are loyal, honest and true. The simple things sometimes mean the most to them. They don't need to change are harden. Their purity makes them who they are
Lookie what I watched Inu :)
I watched Sensitive Pornograph you'll never guess how old Sono is. Well let me tell you he is.....*coughcoughthirtytwocough* I'm all like he's damn good looking XD
Sensitive plant, aka Mimosa Pudica. I bought some seeds online and grew it in the windowsill to surprising success. As advertised, when you touch it, jostle it, or blow on it, it moves / closes up. It seems to open up again quickly when in the sun but not otherwise. The main downside is it also closes up at night, so it doesn't make much of a conversation piece for friends who come over for dinner!