Rocco Siffredi Go Kart

Spectrum

Photography, often , scares me ... It is for me intimately linked to the death, which was - it's basically a very mysterious affair, both for what or who is pictured as looking for me. I believe in ghosts, the shock spectra of these returning to haunt us. Andre Bazin, in What film? , remember that photography as fine art can "(...) satisfy a basic need of human psychology: defense against time. Death is the victory of time. Artificially set carnal appearance of being is to wrest the river of time: the secure life. " Embalming photograph is nothing the matter that is taken is "being saved by the appearance." So yes, the picture has something of the spectrum, in that it is frightening appearance of a death it is not necessary, moreover, that the subject has really gone - but the picture will be more spectral if death done its work. The story 93, " Forenames in the timeline (a tribute to Don Mario, my neighbor Almagro, recently deceased), closes with a photo of Mario, seized on the bright , back from shopping. These names show in the timeline in the finite, the final stage in the intimacy of emotional complicity. That is also the picture in these stories, a practice commonplace in everyday life. We photograph those we love, simply, not to forget them, to say, when it triggers, they intend for us to have pleasure in finding this pleasure he was tainted sadness, nostalgia. The title of the story 71, "Fighting with the shadows," can also illustrate this tension that generates the photographic act. The enemy is the shadow in all the symbolic meanings they wish to grant. Fight against space and time: The subject radiates light which is then recorded (numérisée. ..). Through the light I can see this light: that of a distant planet in time and space. That would be also spectrum of stories within the meaning of scope on the viewer (but should be back on the experience of the photographer himself , author and spectator of her photograph.) Photographs radiate long after they were taken, an effective long term, in time and space.

Pregnant Milana Velbek

Do not move!

Capture the movement remains a challenge because by definition still photography. It must then live with other devices than the shutter speed. The milliseconds do not matter, at most they give the illusion of movement in a move that will replace what the eye perceives.

First: Juxtaposition of two topics set chronologically: 19 narrative, movement at dusk, 1. The dog, even at twilight, when day becomes night, or vice versa, but this intermediate state, evasive, visible to the naked eye. Fix the movement, keep track ephemeral the furrow left in the water by the animal. A "trademark," said Denis Roche still photography. The men at the lake in the Titica story 89 movement at dusk 2. To see these two stories, one after the other, you realize that it is a movement back and forth (left to right for the dog, from right to left and from left to right for men). The movement is fixed and recreated (I think back to Bartlebooth Perec!) As a cinematograph primitive than me, spectator, I welcome.

Then: the juxtaposition, like a chiaroscuro, from static and fixed.
In story 38 Murga (or "Carnival"), the frog is not at the party. A quasi-anatomical, a cutaway, a lung (the) tion of death that took away the jitter (frog, dancers as well). It is mostly what I see. The motion is put to the question.


The story 19 makes us the dog who never bathe twice in the same river ... we have only the trace of a nostalgic way.

Restaurant Servers Rude

(D) The missing piece

44, "Granada," I really like. Because I realize that I have done. This photographer is a device (i) e (r).

License Plate Screw Bmw 328i

amazing Argentine

Incompleteness but also breathing in this story 81 , which avoids the visual saturation, leaving the viewer an escape route. Patchwork. Argentina it was the missing piece of a puzzle? The Story 90 on "unity, ... "Gives a clue: one is what is missing in the puzzle," the unit, but at another level, more emotional for me. " Enigmatic legend, where one must make do with a duck, a green stem, a navy framed by tree trunks in the past two each taken on an island ... Endless inventory, which hides a unit, the Devil knows what is going on. Of the animal, vegetable, mineral: and the eye that sees, that the vertical part of the bird, the green stalk median trunks outlining a round, yet; shrubs in the background. Three places in Latin America. The unit would be a fantasy, I suspect the photographer of being a maker of puzzles (and of course I remember The Life instructions Perec. I can not resist the pleasure of quoting a short excerpt from chapter XXVI Bartlebooth, 1 "For ten years, from 1925 to 1935, Bartlebooth learn the art of watercolor. For twenty from 1935 to 1955, he would travel the world painting in watercolor because of a fortnight, five hundred marines of the same size (65 X 50, or grape), representing seaports Each time that One of these Marines would be completed, it would be sent to a skilled artisan (Gaspard Winckler) that glue on a thin sheet of wood and cut into a puzzle of seven hundred and fifty pieces. For twenty years, from 1955 to 1975, Bartlebooth returned to France, reconstitute, in order, puzzles and prepared, because, again, a puzzle every fortnight. As the puzzles are reassembled, the Marines would "retextured" so that we can loosen their medium, carried in the same place - twenty years ago - they had been painted and dipped in a solution Detergent not clear where a sheet of Whatman paper, untouched and pristine. ") The reader will himself made the necessary comparisons between the two companies ... There's the Perec at photographer I stand by it (thus completing the section "The letttres in the photo). Alternately Bartlebooth and Winckler. Investigator and prey that split or merge (I mentioned earlier the stalker). The return of the same, but differently.

Does Walmart Vision Center Accept Vsp

Mirror Witch

The 99 story is emblematic of the theme of the glass screen, glass mirror. I love particularly the third photograph. It reminds me of a "mirror witch" from those that were found in Flemish painting. This is the window cracked a gear door where the landscape falls more as a reflection by transparency. Tight framing and cons-day make it a black frame. We guess the convexity, we see the grain: the plastic fatigued by the light, the halo dull the impact of the projectile which has cracked, scratches left by travelers all traces left on This funny membrane between inside and outside, between the immobile traveler who looks and the landscape (is) scrolled; on this space of desire through which the eye always goes; eye-door, door-objective which makes the car a black box. Photography continues to be staged, Here nesting dolls (the eye in the camera in the car), "what photography is the fact that we take a picture" (Denis Roche).

But this is only the last photograph. The first reminds me of a picture of Shoah (the staring human, train ...) The second, like a Natural History, tells me that while the insect is much as the landscape: the glass becomes opaque by the short depth of field and becomes coverslip where there.

The pace of three photographs based on the horizontal, vertical and round, the oblique the first free falls in the second photo (the rail) and settles down in the black frame of the mirror. The landscape cottage in the first two pictures (he lives in the starboard and port) is a ship-wagon, all motion, to freeze as the silvering of a mirror.

Chevy Silverado Ss 427 For Sale

Dumbfounded

It seems to me an avatar of the eye is directed in these stories . The story 102 is paralyzing: "The Eye inimaginaire" could be that of a corpse ("inimaginaire 'real, I was not dreaming, but also" unimaginable "that escapes me still), not parted eyelids reveal that the reflected light of the living. Less dramatically, the sleeper is surprised in his sleep, or awakening. It reminds me of these verses of Paul Valery: "... despite missing the soul, into hell busy, / Thy pure form in the stomach fluid drape an arm, / Sleep, watch your form, and my eyes are open. "(" The Sleeper ", in Charmes). As if, like the poetic verse, photography operated like a charm, capable, who knows, to watch at the entrance to hell, to capture the eye ajar something of the unfathomable mystery of sleep, the other on the other when he sleeps. In the "Pretext O" 42 story, the short round of picture to picture, as a fundamental symbol at work in the arch of a railway station in clay, metal, water, glass, basketry. The photographer is the deciphering of the symbols, the aim is the medium between the visible world and the world intelligible. The circle is also the wheel in the Chinese Cemetery Photo 10: Wheel with eight spokes, eight directions of space, symbol the world (the hub is the still center, the perimeter is the radiation). It is also the round glass prism additional photo 6 of 42 story, or that of "two centers" of the story 4, still another center around which turns the world of the photographer. New cosmology that fits in your hand, which firmly grasps the glass as if it were the only reliable axis, which holds a heart, the story of their hearts on hand in the photo 5 of 24 story, " Meditations independent. "

The reticle is also round, where it is: the dog in the crosshairs (picture 8, story 42).

What Does The Gs Ball Do?

Stories

But there are many stories of the eye. The first photo story 86 "Retro" is attractive as all those which we see-or rather which gets caught - the artist. Self-portrait mirror, the antique. I wonder why it is always fascinating. Probably because appears the other photo, this special field that can not help fantasizing (echoing: the "tropical Deal" of the story 65 where the photographer is offscreen) . In the closing of the invisible photographic field arises, which usually escapes me. It becomes an accomplice Backstage ... And the camera is placed here on the stage, his dark eyes and round is the only one horizontal frankly, the only set ourselves in this photo where all the lines, or less, are oblique. The story 23 opens and, of course, closes with a female eye close up. Beauty of the eye captured for itself;-eye mirror, though, began when the foliage of trees.

How Do You Put Music On Your Ipod From Shareaza

The photographer's eye to the mirror

But I meant, of course, the painter in the mirror. I would be interested in some stories that question the report of the photographer his medium. Photo captions highlight the very act of photographing, by the evocation of a technical vocabulary: 21 story, "Divisions"; 5 story, "Self Portrait"; story 26 "portraits child in the chronology; 31 story, "Give me back my camera"; story 48 "Anamorphosis," or else 98 story, "Rain moved slightly blurry. This initial distancing, it also emphasizes the difference between the subject and its photographic representation, is coupled with another: to go through the "narrative", as noted above, is to make a detour through fiction. Metaphorization This is not a dupe, how to say I do not think more than that ...

Sims 3 Info.plist Original

Stalker

"I no longer have access to my life by the investigator who follows my tracks and did not find me" (Christophe Antara)

His life escapes him, but he escapes his life. The photo is taken in cons-diving, you can guess the photographer in the outfield, his feet cut off following the tracks, those feet that become available, we forcing us to identify this investigator. In fiction, this is real evidence that the investigator does exist. This 2 story is exciting. We are in full detective novel. New 'Indian Night' where the tracker and the hunted are the only person? Rusty soil is wet, the footprints laid before disappearing. Traces that outline a geography of the leak, which oxidizes the soil texture between the smooth and lumpy. I think the "stalker", the guide of the area in the eponymous film by Andrei Tarkosvki (among other remarkable by the incredible density of soil filmed). Yes, it Texture is a beauty - linked by obliterating, disappearance, the search for meaning. See the beautiful 78 story , the poetic title: "Notes on the Cambodian boxing after a monsoon rain" text partially lost, as the water rises as the sea reclaims its rights. Ink cons sea photo cons oblivion, solid liquid cons. Monsoon transforms a notebook in a navy enigmatic, partially legible and fully visible, resembling a Rorschach test.

Akira Toriyama Doujin

Pseudoinyme

For the triptych "Seudedónimo "Stories of 35, 88 and 101 : portmanteau of" dedo "finger, and" seudónimo ", pseudonym: something like pseudoinyme . Fingers speak instead of the photographer; fingers are not. In the story 35, the shadow of the right hand is extended over a puddle, and the photographer captures not only the reflection or shadow in the second picture. Gesture for whom? For himself, wink childlike, more seriously: I'm there, is it me who do sign? This shadow, reflection, is it me? Archaic gesture (the story 8 8 depicts a hand holding a dinosaur bone, a paw Nandu) to magically avert what could steal my identity (and we know the belief born at the same time that the photograph of soul-thief); gesture maiden who wonder; gesture fixed on the picture, because you never know (there are those who lost their shadows after a bad deal). The last picture shows a hand gripping the shower water in an unusual contortion; woman's body to the bathroom, but partial, fragmented.

The finger means something in space, the nickname refers to someone a name that is not the original. The fitting of words to suggest that the finger of a name means someone who is not the original, and that the nickname refers to something in space. This equivalence that allows the portmanteau is at work in the photographic space that legend: there was a trick of legerdemain, an identity hidden. We can then expound on the scope of the act of photography, one of whose effects would hide thing it shows . This betrayal is an almost comical figure in this story 88, where the prehistoric animal responds to the modern human, homo economicus cons dinosaur - and as often, humor is as much fun to play the portmanteau word that the common view down to four photos.

The story itself 101 is fabulous: a helping hand to the shadow, fingers ready to radiate light, a hand in glory which illuminate the cathedral of Chartres in a gesture demiurgic! "Lux leaking" very funny.

About another pun: the legend "Nouevau" narrative 41. Move "e" and we get "new", this means that the English adjective "nuevo", read "nouévo. The two languages are double and knot in homophony as the spelling suggests. What does the woman's story 41? She looks intently birds. The fall of dung? What outcome?

Logitech Laptop Camera

Aloi The series

What's the point of the series? It is easier up the story. Many pictures, so many worlds so many stories in which power operates serialization sorting. The story the more open one that would not include a photo and the story as "writing" is the one with the more narrative elements, power stories, guided in turn by the photo caption.
Each photo is a story of promise that awaits the viewer's eye to happen.
Perhaps the series allows it time to reintroduce the illusion of a timeline. The Story 93, "first names in the timeline" is also a tribute to the living and the dead. Narrative puzzle, whose unit will come when all the pieces of light-biographemes- be matched.

Pokemon Sheet Music Crystal

Machado, yet















This quote, "Ojo que ves / ojo no es porque lo CEAS / es ojo porque te ve "legend story 67 a picture where the eye is directed; narrative is essential since the essence of photography it is here. What exchange is at stake when you photograph? What becomes that, that, which is determined by the photo? There is always, like it or not, the predatory aggression of the target, which makes an object being photographed. But what the photographer said here quoting Machado is the integrity of his action that preserves the other manipulated by a report. The subject matter remains, the look is light.

How To Make Herpes Labialis Go Away Fast

The letters in the picture

It is a tenuous network that I like: one that deploys literary guilds. I enjoy finding Jean de La Fontaine in the story 34 , "The Cat and the pigeon" on unresolved legal foot-dragging in the volatile La Rochefoucauld in the title story 40, where the penetration of the spirit embodied in a cat who humorously gets through a gap; Antonio Machado in the story 67 (ojo that ves / ojo no es porque lo CEAS / es ojo porque te ve "," The eye you see / is not added because you see / it is added because he sees you "), Jorge Luis Borges in the title story 37 (" Fervor de Buenos Aires "), Blaise Cendrars's" Prose of the Transsiberian and the little Jehanne of France ", which is thought to account 73; Deleuze for 71 story. And the ones I missed because they were moving too ...

Free Get Pregnant Games

Ubiquity

Inventory: I am trying to exhaust where it has drawn, in the magic of ubiquity: every place crushed. So

:

France, China, Argentina, Laos (the center is in two places, everywhere, nowhere), Uruguay, Russia, Bolivia,

South Atlantic, Lithuania, Poland, Peru, Gambia, Chile, Brazil, Austria, Cambodia ...

(and Laos is a reminder that there is no single place, or rather the site is unique because the artist has trodden (the photo of his foot back as a discreet reminder of his status as a walker) he united them in a series of "stories").

Oral Hiv Test In 7 Weeks

flesh, wood, stone

The story thus more "easily" understandable at first sight only. All stories are slanted, as suggested by the story 21 (photographer's face not pictured, leaving room open for a face monkey, plant, the disdainful look, which sets off right there and then the oblique plane maritime air, falling into the blue sea, spell this word as you see fit).

This means that do not like self-portrait is also, as the story 62 : hieratic and in action, place (or side) of simian face, echoing the story 33. The photographer is a monkey, the act of photographing is a monkey (obstinacy laugh, the subject slips away, turned back, despises the rapacious eye).

Hieratic and action, thus: "living statue" of the twenty-seventh story - it's disturbing that, what So there is to see? What then is told? The statue does not live, it is well known. But it pastes the photographer's face, and it scrambles them. Pétrée death would have won? The mineral (although based is true, although based) as a meter. Or rather, as an intermediate-or, if preferred, this disturbing state which obeys the quantum uncertainty principle. It is there and away, and frozen in action, somewhere between the top and bottom, both under a landslide. Fall. Stolen. Because the viewer can look good, it will not find the artist, perhaps decoys, masks, clowns (Plastic, three in number), so many false leads, such as disturbing the mating face of flesh and stone face, one would normally be the model of the other, but I believe that the photographer wants say otherwise.

Xerex Aubrey Miles Free Streaming

Inside / Outside

Curious 01 story that does in one photograph, errant story (what before? What next? frame gap). There is the text of the panel, emphasized by the title. This is a constant throughout the device: one injection of words in the senior (titles) to the frame ("landslide", and later the "oulement" of the cliff 100 story, "e" of 36 story , "personal access" the story 9 , etc: meaning flows from the inside out, from the outside inward, toward the dizzying, obsessive, part vampire photographic).