photography
street art: i know the joy of…
weekly photo challenge: an unusual POV
only a memory
our neighbor’s tasty rice cakes
at our gate as before ~Issa*
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*cited:
The Spring of my Life
Trans: Sam Hamill
Street Art: I judge that they are men…
In a famous passage in the Meditations, Descartes speaks of looking from a window and seeing men pass in the street. ‘Yet,’ he reflects, ‘do I see any more than hats and coats which could conceal automations? I judge that they are men.’ …the observer no longer passes through them to see the living person beneath. He no longer sees what is implied. However, the attention of the right hemisphere, concerned as it is with the being in context, permits us to see through them to the reality that lies around and beyond them. It could not make the mistake of seeing the clothes and hats in isolation.
The illusion that, if we can see something clearly, we see it as it really is, is hugely seductive. …We never see anything clearly…What we call seeing a thing clearly, is only seeing enough of it to make out what it is; this point of intelligibility varying in distance for different magnitudes and kinds of things…” Ruskin, in Modern Painters, makes the point that clarity is bought at the price of limitation…He gives the example of an open book and an embroidered handkerchief on a lawn. Viewed from a distance of a quarter of a mile, they are indistinguishable; from closer, we can see which is which, but not read the book or trace the embroidery on the handkerchief: as we go nearer, we ‘can now read the text and trace the embroidery but cannot see the [fibers] of the paper, nor the threads of the stuff’; closer still and we can see the watermarks and the threads, ‘but not the hills and dales in the paper’s surface, nor the fine [fibers] which shoot off from every thread’; until we take a microscope to it, and so on, ad infinitum. At which point do we see it clearly? …Clarity, it seems, describes not a degree of perception but a type of knowledge. To know something clearly is to know it partially only, and to know it, rather than to experience it, in a certain way (pp181-182).
**The Master and his Emissary
The Divided Brain and the Making of the Western World
Iain McGilchrist
wordless wednesday XXV
weekly photo challenge: carefree
Those clouds form grandly
high in the sky, but owe it
all to passing winds ~ Issa*
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*source:
The Spring of My Life
Trans: Sam Hamill
wordless wednesday XX111
weekly photo challenge: one shot, two ways
the wonder of
flowers opening
and birds singing:
prayers!
ka ya hiraki / nori toku tori no / kirabiyaka ~Gozan (1695-1733)*
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*This haikai trickery, a palindrome, reads the same forward and backward in kana (the Japanese alphabet)
source: The Classic Tradition of haiku
Ed: Faubion Bowers
photo friday: first light
boot up for the fair
wordless wednesday XXI
weekly photo challenge: masterpiece
The child claps his hands
playing alone, happily,
under a festive tree ~Issa*
One of the best ways to understand how the over-all space of creative expression reflects its parts is to imagine yourself inside the space of the artwork…select a place within the composition where you would like to locate yourself for a few minutes of contemplation. …imagine…passing through different areas of the artwork…feel…energetic patterns. (152)***
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souce
*The Spring of My life
Trans: Sam Hamill
**used with permission by the artist
*** McNiff, Shawn
Trust the Process












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