View allAll Photos Tagged sensitive
Ms. Cheeky's Workshop Exercise # 4: Shoot What You Love
Another candidate for this exercise. Another version posted in the comment below. As you all know by now, it's so hard to get a pictue of my Lisette, unlike Jake. When she just sees a camera, she starts shaking, and has done so since she was a tiny puppy. I've decided to try to get her over t his, or at least to get more pictures of her. And several of you have given me some great suggestions to help-- bring them on. Lisette has such soulful eyes, and such a sense of joy about her. She can also be very serious, as she is here. She is ten years old. I do turn the camera noise off, and give her lots of treats; but the camera and posing are simply dreaded. A few minutes before this photo was taken, she was shaking like a leaf and glassy eyed-- from the camera. One of those photos is posted in the comment below. So we played a little, I praised her, more treats, tried again- and at least I got two better shots of her. She still is stiff- her joy does not quite come through. So the challenge for me was to get a photo that captured her soulfulness. Here she is more serious and curious, having heard a beloved neighbor talking next door. She's looking off in the neighbor's direction.
Her nose used to be very dark black, but as she's getting older, it's getting lighter.
For what it's worth, she's a daughter of Treson, a famous show poodle, who also was terrified of thunder and noises. I guess he was better posing for the camera though, as a show dog. But I think she comes by her fear of many noises genetically. She's an early Treson daughter, one of his first pups after he became famous, bred by his breeder and owner. We have never shown Lisette, pampering her only with a pet's life.
For the exercise: Rule of thirds: tried to get her eyes in the upper right third, but it does not quite make the Rule of Thirds. Usually I crop my pictures closer- so not sure if this works or not. Decluttering- not perfect here, as the garden border is distracting. I could not get her to move closer to the plants and stay relaxed, so this was the best shot I got. And her scarf is a bit distracting- but also adds pizass. The light was from behind me, but she was in the shade of a large tree.
Open to all feedback and criticism and suggestions.
View large: click B l a c k M a g i c, or if the large link does not work, change the magnification (lower right of screen), to 150% or 200%.
Taken 9/19/09, Uploaded 9/21/09, # 7284
If you wish, view all of my Photostream, sorted by Interestingness: fiveprime.org/flickr_hvmnd.cgi?search_domain=User&tex...
Mansfield Park was an existing, underused public space in the heart of Partick, Glasgow. Apart from a twice-monthly Farmer’s Market the space was generally windswept and empty, being dominated by a large and obsolete football pitch.
A community group, Friends of Mansfield Park, commissioned LUC to redesign the park, as an extension and continuation of a long and inclusive public consultation process. The park was the subject of sketch and outline proposals, which were ‘tested’ at a week-long ‘designer in residence’ exhibition. LUC took over a disused shop opposite the park and mounted an exhibition that included a model, a digital fly through and drawings. The public was invited to come in to comment on and discuss the design of the new park. The numbers of people consulted in this way exceeded all expectations and there was enormous support for the sketch proposals. Comments raised in the public debate were taken on board in the finalization of the detail design.
The new park includes a dramatic red sandstone ‘spine’ in the form of a two meter high sculptural wall, a new town square for Partick, performance spaces, intimate pocket parks, sun-slopes, play gardens, a small multi-sport pitch, a grand avenue of lime trees, a fitness plaza, youth facilities and a landmark clock tower on Dumbarton Road. The design is dramatic and contemporary, yet sensitive to local needs having developed from several years of consultations.
Queensland has a plant called sensitive weed. It is probably a local name. When touched it closes it leaves, hence the name "sensitive". It has sharp spikes and little purple flowers.
The new macro lens was given a real workout today and there was one keeper. This is it.
Camera, Nikon D40
Lens. AF-S VR Micro-Nikkor 105mm f/2.8G IF-ED
Cold on the left, hot on the right. A gift from Darran - cymro.bach @ www.flickr.com/photos/93129416@N00/ featuring my famous Made With Love logo > www.flickr.com/photos/purplelime/96840666/in/set-417634/
:-D
Sensitive Issues
"Therefore, as God’s chosen people, holy and dearly loved,
clothe yourselves with compassion, kindness, humility,
gentleness and patience." Colossians 3:12 (NIV)
Humans are tender creatures. All of us are. Even though many times we pretend things don’t bother us, many things really do. I remember a situation that began with a phone call late one night from a frantic wife. She called us for help because she and her husband were having a terrible fight and he was packing to leave.
When we arrived at their home, it was chaotic. She was in the living room with the children. They were all very upset and crying. He was in the garage loading his car to leave. Karen tried to comfort her and I talked to him in the garage.
Here is the short version. The husband was the type of person who hid his personal pain beneath a tough exterior. The more hurt and afraid he felt, the more dominant and intimidating he acted. He’d found out weeks earlier that his wife had some physical problems that were pretty serious. He was concerned and told her to go to the doctor. She didn’t. Every time he reminded her she would just brush him off.
On the night of the fight, he became very dominant and forceful with her about another issue. However, what was really bothering him was the thought that she might die. He cherished her and couldn’t stand the thought that her medical problems might be terminal. His fears took over and emotions got out of control.
As we sat with them and talked things out, she watched him sob uncontrollably as he talked about how much he loved her and how afraid he was something might happen to her. She admitted that the reason she didn’t go to the doctor was because the possible cost. As you can see, both were bothered by something and both of their concerns were valid. However, because they didn’t honestly discuss their feelings, the situation nearly ended in tragedy.
I’ve learned over the years that everything matters. Because of that, I am honest about my feelings and sensitive to Karen’s. I realize that when I’m bothered by something Karen says or does, there is usually more to her behavior.
Rather than reacting to what she says, I’ve learned to pursue what is going on with her on a deeper level. On many occasions, this has kept me from reacting with rejection, withdrawal or verbal aggression. It has also caused me to deeply respect the sensitivity of Karen’s heart and my own as well.
Talk It Out | What underlying issues in your relationship are you reluctant to bring to the surface and talk about? This would be a good time to begin a conversation about sensitive issues that really matter and allow your spouse to see it from your perspective.
Walk It Out | Call your spouse at an unexpected time this week, just to say, “I’m thinking of you.” God bless
She ate everything, but the watermelon was too cold.
She's already sensitive.
Eating outside is just the best.
Especially when the sunlight lights up the crumbs of the blueberry muffin.
is a creeping annual or perennial herb often grown for its curiosity value: the compound leaves fold inward and droop when touched or shaken, re-opening within minutes. The species is native to South America and Central America, but is now a pantropical weed.
Sensitive & colorful knitting
for the SariSilkProject
on the Silk Road to heaven....
incorporated buttons
not only for fastening issues
mixed with stashed materials of all sorts & processed blindfolded
to create a result
much different from anything
you have ever seen so far....
infinite wearing options
like most of my creations
The long term project
was initiated & inspired
by a totally unexpected donation
of a gorgeous assortment
of precious sarisilk
ready to knit
by my dear friend
Kerstin & her Wollmobil
- VIELEN DANK nach Detmold ;-))
During this month, i spent two weeks traveling out of town to the Winnipeg, Manitoba area. Figuring I'd use this peace and quiet to practice some photography, especially with Ai-Kon in the works, I brought along three figures - Hot Toys CW Widow, JL Wonder Woman, and the SH Figuarts Endgame Black Widow.
The Figuarts stuff mostly made it to my Instagram @diigital_sensitive, but the Hot Toys stuff, well, that's when I break out the big guns.
Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Santa Marta 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.
sometimes coffee makes you go places... we know.
our coffee place toilet has sensitive digestion.
please flush toilet paper only. high five!
see more pictures from this journey in the album www.flickr.com/photos/noluck/albums/72177720326755888
Wetlands are biodiversity rich sensitive ecosystems that harbor hundreds of plants, insects, birds and other animals uniquely adapted to their wetland mode of life.They are crucial to maintain the regional water balance through ground water recharge and absorption of flood waters and also serve as the rice bowl of developing countries. Nevertheless, wetlands play immense role in the socio-economic and livelihood aspects of local communities living around the wetland. In India, rural communities depend wetland for livelihood through farming, mat making etc; for food through fishing and hunting; for roof thatching by collection of reeds and palm leaf ; for firewood; for fodder etc. However, these wetlands are now under a threat of conversion for big industrial and real estate projects, change in lifestyle of local community, over extraction of resources by increased population, pollution,waste dumping, eutrophication and pesticide farming. There are three important wetlands in the Puducherry region namely Oussudu, Bahour and Kaliveli that provide important resources for local communities and also are a home to tens of thousands of migratory birds that visit the Puducherry region in winter. These wetlands have been acknowledged as Important Bird Areas(IBAs) by IBCN, since many of these birds are represented in more than 1% of their global population.
The recent threat on wetlands of Puducherry is more due to the change in life style of local community living around these wetlands. The younger generation is not much dependent on wetland resources, The younger and modern generation has lost the compassion and bonding to the wetland which their forefathers maintained through sustainable livelihood practices. This has resulted in a change in attitude and perception of the community towards unsustainable farming and resource extraction, game hunting, intensive fishing and reclamation, ultimately resulting in shrinking of wetland area and loss of biodiversity at an alarming pace. Local community is leaving the traditional farming practices for more fertilizer and pesticide based farming; fish stock is depleted using invasive Gill nets. Since Puducherry is fast developing region with rapidly growing commercial tourism and industrial establishments, these wetlands are under the threat of reclamation for resort construction and other commercial establishments. Poaching for a sport as well as open selling of birds including the threatened species is common. School drop-out are noticed to get attracted to such practices to make easy money as well as hunting for a sport with peers. With time, they may grow into expert hunters who will depend on poaching as the main source of income for the family. There are many wetland awareness programs organized by Forest Department as well as NGOs targeting school kids and educated community through workshops. School drop-outs are often not specially targeted by any of such programs and often not brought under the ambit of such programs. This gap needs to be addressed for local conservation efforts to be fully effective. We have chosen birds as the umbrella species whose conservation will in turn protect the lake and biodiversity as a whole. Birds are attractive and beautiful; ,which may easily get compassion from drop-out kids if guided appropriately. With proper efforts, the poachers can be turned to protectors and expert tour guides to facilitate ecotourism.
This is pressure sensitive fountain that we see everywhere - kids frolicking around.
Shot in Cupertino, California
South Branch Beech Grove
Wisconsin State Natural Area #498
Oconto County
Chequamegon-Nicolet National Forest
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An old photo, one taken before the switch to a BaRF (bones and raw food) diet, but I thought it would be an appropriate image for my purposes. Since my felines started eating BaRF, I've been the one to give them every last meal. However, given my unpredictable work, it is quite possible that Kevin will need to feed them at some point. He watched me once, but I thought I'd get it in writing for him. Hence, this post
My felines enjoy BaRF twice daily. They all happily gather in the kitchen for their meals. We have eight bowls for them. Given Gumbo is allergic to plastic, he uses the blue camping bowl. That leaves seven plastic bowls. Ariel gets the lightest green bowl to match her eyes. Cumin gets the orange bowl while Mr. Grigsby, the other tabby, gets the light orange bowl. Miss Raven eats out of the red bowl (Raven = Red). MoMo uses the darkest green dish while Vidalia uses the next shade down and Curio the next. Of course, when someone else feeds them, the only important thing to remember is that Gumbo doesn't eat out of plastic. I measure out the BaRF into their dishes. Ariel, Cumin, and Raven get 1 1/2 ounces per feeding. If I give more, they just leave it in the dish. They even leave food when eating 1 1/2 ounces from time to time. Gumbo gets 1 7/8 ounces. I first dish his food into MoMo's dish and microwave it for exactly ten seconds. Too long, and Gumbo won't eat it. Too short, and Gumbo barfs his BaRF. After all, Gumbo has the sensitive stomach of my crew (NEVER give Gumbo anything seafood as it acts as an emetic). And always make sure to break up any chunks for this dear boy with no teeth. Vidalia and Curio both get 1 7/8 ounces as well. Mr. Grigsby gets 2 ounces each feeding. MoMo's amount varies a bit. I feed him roughly 1 7/8 ounces as well but he could easily stand to eat more if he ever cared to. All the dishes get WARM (as warm as it goes) tap water added. Most just get a bit. Mr. Grigsby and Vidalia have stomachs of steel and could eat the BaRF cold. The others NEED the water. MoMo gets extra water as he ADORES water. Miss Raven also gets an extra amount of water given her renal failure. We keep her well-hydrated. After I put water in the dishes, I put two squirts of lysine in Curio's dish. Oh, and in the evening, I add a quick bit of laxative. A whole half teaspoon covers the entire crew. When I finally put down the food for the felines I feed them in order. Well, almost. I tried feeding Ariel first, but she kept doing a silly dance around the kitchen. I got tired of chasing her with a dish till she decided to stop. So, instead of Ariel getting fed first, Cumin gets fed first. Then Ariel. (She doesn't do the dance when I feed Cumin first. Go figure.) Then Gumbo. Then Raven. Yep, in order. I used to put MoMo in next, but he doesn't like to eat with the others. His dish gets saved for last and I take it to his room. Tweedle Dee and Tweedle Dum go next. Or Frick and Frack or whatever you want to call my pair of tabbies and white. Vidalia first then Curio. And last but not least and certainly the loudest of the crew, Mr. Grigsby gets his meal. While I am delivering MoMo his food, the others have their faces buried in the bowl. Then I pick them up as they finish. Most extra bone fragments or cartilage I often collect for the garbage (I just don't want Vidalia and Mr. Grigsby to get too much as they each polish off their entire bowl). Thankfully there is less avoidance of calcium once I cut back to 1 1/2 ounces for the older girls. They should all be getting a proper balance now. Otherwise the remains go back in the container to be fed later. Waste not, want not. Hopefully this will be a useful post for Kevin one day. Or I'll hunt it down when the neighbor cat-sits for us.
[SOOC, f/1.4, ISO 200, shutter speed 1/160]