{en vedette} Damian De Souza ~ Anatomica Pathologica

When I used to do the {daily pic} on Pixels, I could spend up to two hours looking for the perfect text and most appropriate song or video on YouTube. I did a podcast about this four-and-a-half years ago. I’ll include it here, in case you are wondering.

In the case of Damian’s picture here, it just made me feel weird. I wanted to find something that might pair well with it. No music came to mind. And then I stumbled on this video. It made me feel weird, too! Bingo.

Earth Is Known As The Most Difficult Planet

Article at LifeInLoFi.com about the Pixels relaunch

Marty used this image from the email I sent out last week.

Over at lifeinlofi.com, the only website devoted to iphoneography that has been around longer than Pixels, Marty Yawnick wrote a kind piece about the relaunch of Pixels. In it he said:

Back in the early days of iPhoneography, the photos were low resolution and low fidelity. There were only just dozens of good photo apps. Creating art on the iPhone often felt like working on a very small canvas with a very large brush. Dig back through PIXELS’s earliest archives. Most of those works still hold up.

Knox and I have remained friends over the years. On a personal note, I truly believe that without his feedback and guidance, the art of mobile photography might have taken a very different, less artistic turn in its formative years. Yeah, the case can be made that someone else might have stepped up to that position regardless, but Knox did a lot to set the creative bar pretty high.

The fact is no one ever stepped up to create another curated site. I was always hoping someone would do so. I guess the point was moot, in retrospect: ninety percent of the best artists were already on Pixels anyway!

As to me setting the bar, it was always the artists who set the bar. I only had the wherewithal to enforce it in service to the movement. Everybody who followed, from iPhoneArt.com on down to today’s third and fourth movers on Facebook, benefitted from my curation at Pixels.

You can read Marty’s article here.

I have been working on a project for a while and realized I needed some help, so I brought in an art consultant. She was blown away by the work of about fifty Pixels artists I had put together. She said, “I can’t believe these were done on an iPhone!” How many times have we heard that?

She helped me weed out the A- and B+ images, so that we were left with just the A+, as she put it, images.

When I launched Pixels in late November of 2009, Flickr was dominated by the street photographers sharing pictures of people walking down the sidewalk away from the photographer, telling each other how great they were.

Pixels changed that.

Forever!

{en vedette dimanche} Ilise Harris ~ Mermaid 2

Ilise Harris ~ Mermaids 2
Ilise Harris ~ Mermaids 2

Originally published February 20, 2016.

Everything on earth bristled, the bramble
pricked and the green thread
bit, the petal fell
until the only flower was the falling.
Water is different,
has no direction but beauty,
runs through all dreams of color,
takes bright lessons
from the rock
and in those occupations works out
the unbroken duties of the foam.

Water by Pablo Neruda


Water by Helen Grimaud – A simply amazing album.

Pour yourself a cup of coffee or tea.

Stare out the window.

Listen.

Breathe.

{en vedette} enzo DJ ~ 3/’a

enzo-dj_3amp039a_130630
enzo DJ ~ 3/’a

Tractors are to the physical world what synthesizers are to music. Help tiny men build huge structures. Tractors also do some really bad stuff, like destroy farmlands for McMansion subdivisions. Synthesizers can be used to create beautiful works like those of Brian Eno or Kraftwerk or for the momentary ascendency of Skrillex and Daft Punk.

Great shot by Mr. enzo DJ, love the perspective, the composition,  the apping.

We had some good machines.

This is the sound of poisons
The sickness no one knows
No one is crying for us this time
Our shapes are blurring
Under miracles of snow
Weave a circle ’round him three times
You have to plan your moves at these times
Our hearts are breaking
One more song to go

These eyes are blind
This is a pure thing
These hands I kiss
Tragic as anything
These eyes are blind
This is a pure thing
All splash and hiss
Beyond my measuring

Only the anacrucis*
The main event remains
Shameful and naked, out there
In the great cold outdoors
We have to learn these things again
Bathe in this incandescent glow
The leap to something I don’t know
There is no doubt upon us when
The greasy men come back again

These eyes are blind
This is a pure thing
These hands I kiss
Tragic as anything
These eyes are blind
This is a pure thing
All splash and hiss
Beyond my measuring

These faded flowers
Precious as memory
A veil of cloud
Correct as energy
We had some good machines
But they don’t work no more
I loved you once
Don’t love you anymore

These eyes are blind
This is a pure thing
These hands I kiss
Tragic as anything
These eyes are blind
This is a pure thing
All splash and hiss
Beyond my measuring

These faded flowers
Precious as memory
A veil of cloud
Correct as energy
We had some good machines
But they don’t work no more
I loved you once
Don’t love you anymore

Faded Flowers by Shriekback

*In the song “Happy Birthday to You”, the anacrusis forms the Happy and the accent is on Birthday.
In The Star Spangled Banner, the word Oh in the first line is an anacrusis in both the music and the anapestic meter of the poem:
x    /    x    x    /  x    x    /    x    x    /    
Oh,    say,    can    you    see,    by the    dawn’s    ear-    ly    light. . .
˘    ˘    ¯    ˘    ˘    ¯    ˘    ˘    ¯    ˘      . . .
At the beginning of the Beatles’ “Yellow Submarine”, “In the” is the anacrusis, while “town” falls on the downbeat.

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