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Fragments of original wallpaper discovered behind the fireplace mantel in the Dining Room of the Pritchard House, Titusville, FL.
sometimes there is so much energy it is difficult to focus a camera - also a lot going on in a shrine room during an initiation
You are in a Photo shoot, all is going good you finish, you pack and .. suddenly you saw this image and you say well one more and .... VOILA you get a dessert...
Just water... :-)
Better on Black
Sometimes your satnav takes you down dead ends and sometimes it takes you past deserted diners. And when life gives me deserted diners I make photos.
So I grabbed my camera and the gorgeous Lenore and headed out for a morning of dust, spiders, and wonder.
I had no lights or even a tripod with me so everything is lit naturally and handheld.
The first half were my design. The idea of an almost ghostlike woman, perhaps waiting for a long lost love.
The second half came from Lenore and were inspired by the Velvet Underground song 'All Tomorrow's Parties'.
I think they contrast each other pretty nicely.
via Instagram bit.ly/16KONEg Sometimes peer pressure causes smoking, sometimes it works against it. #fingerscrossed
Charlotte Sometimes is my favorite song by The Cure. I recently found out that it's based on a book of the same name (written in 1969 by Penelope Farmer), so I decided to read it to better understand the lyrics/ song. Subsequently, I was inspired to create this digital illustration, based on the card face of the (doubled) Queen of Hearts.
(I exhibited and sold a print of this in the 10x10x140 show at The Eclectika Gallery on 1/25/25.)
The story involves the double life of a school girl, Charlotte, who wakes up back in time into the body of a younger girl, Claire, in the same school - back in 1918 Britain during WWI. When the girls go to sleep and wake up, they alternate every other day between the 1960s and 1918 - their bed space causes the temporal shift. They use a diary to communicate what has happened daily in each other's time as they struggle with the changes in an unfamiliar time period, relationships with peers they do not know and maintaining their own identities. Then due to a trip and extended stay at relatives in the country, Charlotte fears she may be stranded in the past after being unable to return to the bed - until the end of WWI...
sometimes on the 30th of april a rare and beautiful species come out , the butterfly-woman , they dance between the people and show their stunning colors..
why I take pictures of starlings. Other times, I don't
I'm still all wrapped up in the tae kwon do thing and I don't have any time. I'm sorry I can't visit and comment more.
Hear a European Starling
Hey everyone!
It's MHperfectlyimperfect here.
This is my amazing Dead Fast Ghoulia :D
Hope you like this pic:-))
you don't know what you're missing until you reach out to touch it.
Sometimes you can't see how beautiful something is until it steps back into the light. And sometimes you miss a love you almost didn't lose.
But when you need beauty...
dream....
:)
Laburnum
From Wikipedia, the free encyclopedia
Laburnum, sometimes called golden chain or golden rain, is a genus of two species of small trees in the subfamily Faboideae of the pea family Fabaceae. The species are Laburnum anagyroides—common laburnum and Laburnum alpinum—alpine laburnum. They are native to the mountains of southern Europe from France to the Balkans.
Some botanists include a third species, Laburnum caramanicum, but this native of southeast Europe and Anatolia is usually treated in a distinct genus Podocytisus, more closely allied to the Genisteae (brooms).
Description
The Laburnum trees are deciduous. The leaves are trifoliate, somewhat like a clover; the leaflets are typically 2–3 cm (0.8–1.2 in) long in L. anagyroides and 4–5 cm (1.5–2 in) long in L. alpinum.
They have yellow pea-flowers in pendulous leafless racemes 10–40 cm (4–15.5 in) long in spring, which makes them very popular garden trees. In L. anagyroides, the racemes are 10–20 cm (4–8 in) long, with densely packed flowers; in L. alpinum the racemes are 20–30 cm (8–12 in) long, but with the flowers sparsely along the raceme.[2] The fruit develops as a pod and is extremely poisonous.
The yellow flowers are responsible for the old poetic name 'golden chain tree' (also spelled golden chaintree or goldenchain tree).
Laburnum tree in full flower
All parts of the plant are poisonous, although mortality is very rare.Symptoms of laburnum poisoning may include intense sleepiness, vomiting, convulsive movements, coma, slight frothing at the mouth and unequally dilated pupils. In some cases, diarrhea is very severe, and at times the convulsions are markedly tetanic. The main toxin in the plant is cytisine, a nicotinic receptor agonist.
It is used as a food plant by the larvae of some Lepidoptera species, including the Palearctic moth, the buff-tip.
Sometimes in the night, the fox slips by
January 7-21, 2022
Artlab Gallery
Anahí González, Philip Gurrey, Dong-Kyoon Nam, Sasha Opeiko
Studio PhD candidates from the Department of Visual Arts present Sometimes in the night, the fox slips by, a group exhibition of recent work by Anahí González, Philip Gurrey, Dong-Kyoon Nam and Sasha Opeiko. The show gathers a broad spectrum of investigations sharing a common interest in the relationship between poetic and theoretical potential in making. Some orient themselves toward the political, looking at labour issues both in Canada and abroad. Others probe the language of modernism with strategies centered on improvisation and decay. Others still, use a posthumanist perspective to deconstruct notions of the readymade or to renegotiate representations of melancholy. In concert they are the fox of John Burnside’s poem, deftly weaving a path through fence and thicket.
Anahí González
Bueno, Bonito y Barato, is deeply involved in exploring the Mexican cues portrayed in visual culture, evoking quiet tensions of nationalism and labour representation. By bringing this approach of Mexican labour visual representation on a mobile wood billboard together and allowing them to interact within the gallery, the work engages with concepts of temporality, mobility, the USMCA and institutionalism.
Dong-Kyoon Nam
Praxis of New Assemblage
My work focuses on reconstructing ordinary objects encountered in daily life into ‘animate things’: things understood as dynamic, temporal, yet precarious assemblages animated in a relational field that encompasses humans/nonhumans and organic/inorganic matter.
The method of assemblage I use is not based on the sculptural representation of an assumed and pre-existing whole, rather it refers to a process wherein a visualization of the potential movement of things, and the relationships between their parts, rhythms, affects, and intensities are privileged.
My studio process is semi-impromptu, a horizontal attunement with things, entangled in chance and necessity. My bodily sensibility starts from meticulous attention to fleeting, small occurrences that would otherwise remain unacknowledged.
re | cycling
On a mechanical level, these works reclaim parts of digital home appliances that usually remain invisible, and in so doing, momentarily stabilize the rapid cycle of production, consumption, and disposal. Installed on the wall by adhering them at right angles on a canvas panel, each singular assemblage stands alone and simultaneously exists in relation, signaling both continuity and discontinuity in turn. The works are abstract, like drawings of fluid lines and fragmented outlines, yet still concrete and sensorial. They take the form of artificial assemblages made of e-waste that paradoxically imply ecological precarity and complexity. On a mechanical level, these works reclaim parts of digital home appliances that usually remain invisible, and in so doing, momentarily stabilize the rapid cycle of production, consumption, and disposal. Installed on the wall by adhering them at right angles on a canvas panel, each singular assemblage stands alone and simultaneously exists in relation, signaling both continuity and discontinuity in turn. The works are abstract, like drawings of fluid lines and fragmented outlines, yet still concrete and sensorial. They take the form of artificial assemblages made of e-waste that paradoxically imply ecological precarity and complexity.
Sasha Opeiko
In Something like Fan Object Objects the banal object of study is a used domestic desk fan with a missing safety grill. It was found as a discarded, unwanted item sold in a thrift store. Damaged and disentangled from its previous function, the object is melancholically symptomatic and its image is mediated into multiple manifestations of loss and disintegration. The fan was visualized through faulty 3D scanning, rendered into a rotating 360° animation, and exported as 1400 individual frames, which were fed into a machine learning algorithm that produces new images based on the data it received. The fan itself is rendered useless, its melancholic image diffracted into 10,000 iterations of manufactured glitch. They are presented in video not so much as an animation, but a kind of factual flickering of machine-produced visual data. The nonhuman gaze of image data processing unravels a gapped 3-D representation into a myriad of fractured views, flatly glitching in a dark melancholic refusal to be coherent.
#melancholy began with a collection of screenshots of Instagram posts that were coming up under #melancholy. The screenshots are samples of the prevalence of sublime, mostly Nordic landscapes that the general population locates as representative of melancholy, branding it into named images for dissemination. Working with 460 screenshots, an AI algorithm on Runway ML was used to produce new images based on what it learned from the collection of screenshots. The AI model generates "#melancholy" Instagram landscape images and has the capacity to produce a video of these generated images morphing into one another. The images are disintegrated but new reintegrated versions of what a nonhuman gaze recognizes to be a #melancholy landscape image.
In Forged Afterimage Compression six rotating 3D scans are presented as a result of a remediation process that started with 3D scans of provisiona, transitory physical constructions of found objects and images. This first set of 3D scans, already full of gaps and distorted by the nature of the scanning app Trnio, was made into rotating animations that were then 3D scanned again off of a laptop screen. The outcome is a kind of forged afterimage, compressed into a digital skin or something like a distorted geological compound, resulting from the app’s inability to fully comprehend a 3D representation on a flat screen. These are remnants forged from remnants.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2022; Department of Visual Arts; Western University
Sometimes I just like to take photos that show no faces and leave you wondering about the personand what they are doing - I have many photos of this subject, so many so that he has gotten use to me just taking photos at any time.
Or the beating of the heart... Today's FGR challenge is "c'mon, feel the noise" - but I didn't feel like rocking it out today. Strange that two of my contacts had the same thought train I had - that sometimes the loudest sounds are the simply the ones we can't ignore. The sound of time ticking away on us - relentlessly - unceasingly... tick... tick... tick...
Look here: www.flickr.com/photos/cre8iveaddiction/3046550085/
and here: www.flickr.com/photos/hammondsbabies/3047197964/
When you get to be of a certain age, you suddenly realize that you only have so many Saturdays, so many Thanksgivings left, even if you live to be a hundred. Suddenly, the math isn't so difficult to do, and each one that's squandered - each day that's wasted - hurts.
It reminds me of the epilogue from The Moody Blues' old song, "Knights in White Satin" - one of the few poems I know by heart..,
Breathe deep, the gathering gloom
Watch lights fade from every room
pensitive people look back and lament
another days' useless energy spent
Impassioned lovers, wrestle as one
Lonely man cries for love and has none
New mother picks up and suckles her son
Senior citizens wish they were young
Cold hearted orb that rules the night
Removes the colors from our sight
Red is gray, and yellow white
But we decide which is right, and which is an illusion
Sometimes you just have to roll up your sleeve and go for it!
Seen during our Backyard Harvest Fest, offering a helping hand for our backyard visitors.
Some context (I'm not riding by myself!) - there are two riders off the front, I thought there was only one and that he was the guy I could see. I was kind of angry at myself for not keeping track of the time - we were told it was going to be ~40 minutes but I could not see the lap cards so I assumed they were not out when in fact they were out, just not pointed at us. So when we got the bell I was a little surprised and asked Paula to verify the lap count and when I realized what happened I just went for it from one lap out in the hopes of catching the breakaways...this is the last lap from turn two to the end.
I'm happy to have won the field sprint and disappointed to have let the two riders get off the front (without me!)
Sometimes - Susannah McCorkle
.....the fish chase the eagles!!!
Taken by my wife, Kelly!
Notice the silver tag on the left leg. Could not make out the number on the tag.
Bereits aus der Frühgeschichte der Menschen gibt es Hinweise darauf, dass die Menschen glaubten und fürchteten, die Toten könnten zurückkehren und möglicherweise den Lebenden Leid antun. Unter anderem wurden in verschiedenen Kulturen Gräber vorgefunden, in denen die Leichen Verstorbener gefesselt waren. Allerdings ist teilweise unklar, ob dies eine Sonderbehandlung oder sogar Hinrichtung für Verbrecher war.
Noch bis ins 18. Jahrhundert herrschte auch in der mitteleuropäischen Bevölkerung große Angst vor der Wiederkehr Verstorbener. So war eine Aufgabe der Totenwache, einen vermeintlichen Verstorbenen zu erschlagen, wenn er sich von dem Totenbett erheben sollte. Dies kam durchaus vor, denn die Methoden, den Tod festzustellen, waren unzuverlässiger als heute.
Die Figur beziehungsweise der Name Zombie zog in die Kulturerzeugnisse der Vereinigten Staaten ein, während Haiti von 1915 bis 1934 unter US-amerikanischer Besatzung stand. Der aus dem Kreolischen (zombi = Gespenst, Totengeist) herrührende Begriff Zombie wurde in den 1920er Jahren vor allem durch US-amerikanische Kinofilme und Comics populär, als das Phänomen des Scheintodes noch kaum ins Bewusstsein der Allgemeinheit eingedrungen war. Nach einer Definition des französischen Ethnologen Michel Leiris sind Zombies „Individuen, die man künstlich in einen Scheintodzustand versetzt, beerdigt, dann wieder ausgegraben und geweckt hat und die infolgedessen folgsam wie Lasttiere sind, da sie ja gutgläubig annehmen müssen, dass sie tot sind.“
Der Ethnobotaniker Wade Davis entdeckte 1982 auf seiner Reise durch Haiti, dass das dabei zur Anwendung kommende Zombie-Gift unter anderem das hochtoxische Tetrodotoxin enthält, und führte die Zombifikation von Menschen darauf zurück. Während Terence Hines vermutet hat, Davis sei einem Hoax aufgesessen, konnte der Autor Natias Neutert als „ethnologischer Detektiv“ die Vermutung von Leiris aus den 1930er Jahren 1994 durch folgenden Befund bestätigen: „Zombie-Gift: Im wesentlichen geraspelte Menschenknochen, zum Sieden gebrachte Krötensekrete und Bestandteile des Fou-fou, eines Kugelfisches, dessen Ovarien hochgiftiges Tetrodotoxin enthalten. Zehn Milligramm davon genügen, einen Menschen ins Jenseits zu befördern. Eine sehr viel geringere Dosis führt den Zustand des Scheintods herbei: Der Atem des Opfers geht nicht mehr, das Herz steht still, die Muskulatur ist gelähmt, sämtliche Stoffwechselfunktionen sind herabgesetzt — bis ganz nah an den klinischen Tod.“ Einleuchtend ist die weit verbreitete Idee, das Zombie-Gift werde mit Juckpulver vermischt auf die Haut des Opfers geblasen, sodass es beim Kratzen durch die dabei entstehenden Wunden aufgenommen wird und in die Blutbahn gelangt. Das Gift ruft rasch die beschriebenen krankheitsähnlichen Symptome hervor, an denen das Opfer scheinbar stirbt — ein Glaube, in dem sowohl die Gemeinde als auch das Opfer selbst befangen ist, solange mangelnde Aufgeklärtheit dies begünstigt. Nach Ansicht des Anthropologen Littlewood und des Neurologen Douyon, die mehrere „Zombies“ detailliert untersuchen konnten, handelt es sich in etlichen Fällen auch um herumirrende, psychisch kranke oder debile Fremde, die sich nicht zurechtzufinden wissen und daher oft fälschlicherweise als vermeintlich Verstorbene identifiziert werden.