(Click to enlarge)
And from a slightly shifted position, a few steps to the left (note the shadow as well):
“Doble Creu” by Carles Berga
Castell de Montjuic
See this video for more perspectives:
More at Carles Berga
(Click to enlarge)
New York, New York
But, as in the Anita Bryant song, they’re only artificial. Each rose is made from just two pieces of paper: one color for the flower and petals, and a green one for the leaves and stems. Worth looking at these as enlarged as you can get it.
Email at OrigamiRose@QQ.com (Leo)
I wonder how some people can talk so much. For me, it’s really difficult. I mean, if I must, I can, but it’s a big effort. Now it’s true that I am used to speaking in public, and I am used to being on a stage; but that’s script reading, not talking; it’s a world of difference. And the same with writing: some writers cannot stop writing. They keep their detailed diaries and journals, often from a young age, with an enviable fluency. On the other hand, writers like myself have to be chained to the chair and desk while writing. I kind of understand this difference in writers. With a writer, the voluble ones have the advantage of being able to get that first draft done quickly, and they don’t agonize over every word. But, still, those writers understand that a first draft is just a first draft. They know and accept that it’s not going to come out right that first time. But what I don’t understand is how some people can keep talking, since it’s not just a first draft, and there’s no chance to edit it once it’s out there. It’s already published–in a matter of speaking. Or is that it? Do they simply trust that they can keep talking and revise themselves in the moment?
I don’t know what I am writing until I write it. This essay itself has gone through many drafts (not enough!), and each time I’m discovering what it is I want to say. But I almost never allow myself that same luxury as a speaker. I almost never surprise myself as a speaker. Do others?
When I do radio I much prefer to edit interviews than do live radio, because I think the listener deserves more than my unedited wanderings. I am not a fan of poetry that reads like unedited diary musings. That seems inartistic to me. I don’t expect anyone to make any sense of my first drafts. The only time that I allow myself to speak without thinking first is during an acting improv, because to me, the stage is a very safe place, and I never have to take responsibility for what a character says.
But real life? No, I will not allow that. Do the talkers do what I do in an improv and silence their inner critic (or does it not exist for them)? Or does the inner critic work so quickly that they don’t worry about what comes out? Or are they confident that they can just keep talking, and in so doing revise as they talk? Maybe that’s what explains the compulsive quality of some of the non-stop talkers I’ve known. Are they revising, revising, and refusing to stop until the final product seems right? Or is it that they simply do not care that there may be some unwanted leakage? In the end, my attempts to manage myself are futile anyway, and maybe I just feel more wary and ashamed than I need to feel. The talkers have such a trust in themselves and their ideas, and there seems to be no border between their inside and outside. I don’t know how to be so transparent.
But I also see that talking is used as a defense, just as silence is used as a defense. Is it that the talker cannot imagine silence being used as a defense any more than the quiet one can understand the use of talking as a defense? Choose your weapon.
Still, I don’t even understand the biology and physics of the non-stop talker. How, I wonder to myself, is it physically possible for a person to be like a record player, putting the needle on the phonograph record and having it play straight through non-stop? Is the person doing in public what I am doing privately in my head all the time? Maybe those words are not meant for the public but for the talker? Is it that the talker cannot hear his or her own self-talk unless it’s spoken out loud?
Shakespeare talks a lot about talking. And his characters can certainly talk–to themselves and to others. But he makes fun of Polonius for babbling too much, and the silky flowing words of the King, Claudius, are treacherous ones. Yet Hamlet, who speaks more lines than any other character in Shakespeare, speaks with restraint in public. When questioned about his malaise he offers up only, “I am too much in the sun,” and “I lack advancement,” and, of course, his succinct book review: “Words, words, words.” The true bulk of his lines are thoughts which he shares only with himself–and the audience who paid to hear them.
I think that even if I wanted to change the way I was, I could not do it.
Is the truth in the stream of consciousness or the reflection upon it? Which is our deepest self?
I was introduced to the Turkish art technique of ebru by a colleague of mine, and some of the results I’ve seen are astonishing. Here is artist Garip Ay, using the paint on water technique to produce, well . . . see for yourself.
Thanks to YouTuber garip ay
Some extraordinary examples of street art illusion—the drawings are seemingly three dimensional, but in fact they are all done on a flat street surface with paint and chalk. The illusions depend on the perspective that the camera vantage point enforces, and the projective geometry of anamorphosis.
The realistic nature of the drawings allows passersby to interact with the drawings by posing with them, further reinforcing the three-dimensional illusion.
Thanks to YouTuber Mind Blowing