Picture a Garden
Chantal van Genderen (Amsterdam, NL) on photography, gardens, nature-related arts and design, natural food, sustainability, ecology, permaculture and interesting stuff...

Chantal is curator at the Amsterdam Center of Photography (ACF) http://www.acf-web.nl

(disclaimer: if you happen to find your picture on this site without acknowledgement please let me know and I will add source /or delete content at your will)
Picture a Garden
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jtotheizzoe:

Are These Cave Paintings The First Animations?
Over at Nautilus, Zach Zorich illuminates how 21,000 year-old cave paintings at Lascaux may represent an early form of motion picture.
Many of the superimposed animal shapes, like the deer heads above (photo by Norbert Aujoulet), can appear to move like a flip-book when they are viewed with the dim, flickering light sources that would have been available to Paleolithic humans. Combine it with some low-light trickery on behalf of the visual system, and you’ve got cave-toons:

Physiologically, our eyes undergo a switch when we slip into darkness. In bright light, eyes primarily rely on the color-sensitive cells in our retinas called cones, but in low light the cones don’t have enough photons to work with and cells that sense black and white gradients, called rods, take over. That’s why in low light, colors fade, shadows become harder to distinguish from actual objects, and the soft boundaries between things disappear. Images straight ahead of us look out of focus, as if they were seen in our peripheral vision. The end result for early humans who viewed cave paintings by firelight might have been that a deer with multiple heads, for example, resembled a single, animated beast.

Storytelling, visual or otherwise, is simply part of what makes human.
Previously: Archaeologist Marc Azema has found similar story-paintings at Chauvet, even older than Lascaux!
(via Nautilus)
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"Anything else you’re interested in is not going to happen if you can’t breathe the air and drink the water. Don’t sit this one out. Do something. You are by accident of fate alive at an absolutely critical moment in the history of our planet."

Carl Sagan

Carpe that diem, folks. You know how on the subway, they say “If you see something, say something”?

Well, if you see something about the planet that you’d like to change, do something. You’ve been given the gift of being right here, right now, so why not make the most of it?

(via we-are-star-stuff)

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mpdrolet:

Frederic Lezmi
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fuckyeahmineralogy:

Chalcopyrite with Dolomite; Sweetwater Mine, Viburnum Trend District, Missouri
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kenobi-wan-obi:

Mirror to The Milky Way by Dakotalapse


  Mirror - A few inches of water cover the salt flat of Salar de Uyuni in Bolivia. When it is calm it creates an excellent mirror for the sky. This was after 3AM and the Milky Way core was directly over head, so it is out of the frame.
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zeroing:

Rebecca Handler
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zeroing:

Andrew B. Mayers
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likeafieldmouse:

Thomas Ruff - MA.R.S. (2012)
"A combination of the visual data obtained during explorations of Mars and the technological sophistication achieved in images on interplanetary space. As with all of these series on cosmic space, Ruff initially had to sift through a vast body of material that required a certain level of expertise to be able to select and thus interpret what is being seen through the images obtained. 
The series MA.R.S. offers a low-level aerial survey of the surface of Mars, using color filters that create a tenuous glow and thus convert the planet’s arid surface into that ‘promise of happiness’ which should be associated with everything related to beauty, according to Stendhal.”
likeafieldmouse:

Thomas Ruff - MA.R.S. (2012)
"A combination of the visual data obtained during explorations of Mars and the technological sophistication achieved in images on interplanetary space. As with all of these series on cosmic space, Ruff initially had to sift through a vast body of material that required a certain level of expertise to be able to select and thus interpret what is being seen through the images obtained. 
The series MA.R.S. offers a low-level aerial survey of the surface of Mars, using color filters that create a tenuous glow and thus convert the planet’s arid surface into that ‘promise of happiness’ which should be associated with everything related to beauty, according to Stendhal.”
likeafieldmouse:

Thomas Ruff - MA.R.S. (2012)
"A combination of the visual data obtained during explorations of Mars and the technological sophistication achieved in images on interplanetary space. As with all of these series on cosmic space, Ruff initially had to sift through a vast body of material that required a certain level of expertise to be able to select and thus interpret what is being seen through the images obtained. 
The series MA.R.S. offers a low-level aerial survey of the surface of Mars, using color filters that create a tenuous glow and thus convert the planet’s arid surface into that ‘promise of happiness’ which should be associated with everything related to beauty, according to Stendhal.”
likeafieldmouse:

Thomas Ruff - MA.R.S. (2012)
"A combination of the visual data obtained during explorations of Mars and the technological sophistication achieved in images on interplanetary space. As with all of these series on cosmic space, Ruff initially had to sift through a vast body of material that required a certain level of expertise to be able to select and thus interpret what is being seen through the images obtained. 
The series MA.R.S. offers a low-level aerial survey of the surface of Mars, using color filters that create a tenuous glow and thus convert the planet’s arid surface into that ‘promise of happiness’ which should be associated with everything related to beauty, according to Stendhal.”
likeafieldmouse:

Thomas Ruff - MA.R.S. (2012)
"A combination of the visual data obtained during explorations of Mars and the technological sophistication achieved in images on interplanetary space. As with all of these series on cosmic space, Ruff initially had to sift through a vast body of material that required a certain level of expertise to be able to select and thus interpret what is being seen through the images obtained. 
The series MA.R.S. offers a low-level aerial survey of the surface of Mars, using color filters that create a tenuous glow and thus convert the planet’s arid surface into that ‘promise of happiness’ which should be associated with everything related to beauty, according to Stendhal.”
likeafieldmouse:

Thomas Ruff - MA.R.S. (2012)
"A combination of the visual data obtained during explorations of Mars and the technological sophistication achieved in images on interplanetary space. As with all of these series on cosmic space, Ruff initially had to sift through a vast body of material that required a certain level of expertise to be able to select and thus interpret what is being seen through the images obtained. 
The series MA.R.S. offers a low-level aerial survey of the surface of Mars, using color filters that create a tenuous glow and thus convert the planet’s arid surface into that ‘promise of happiness’ which should be associated with everything related to beauty, according to Stendhal.”
likeafieldmouse:

Thomas Ruff - MA.R.S. (2012)
"A combination of the visual data obtained during explorations of Mars and the technological sophistication achieved in images on interplanetary space. As with all of these series on cosmic space, Ruff initially had to sift through a vast body of material that required a certain level of expertise to be able to select and thus interpret what is being seen through the images obtained. 
The series MA.R.S. offers a low-level aerial survey of the surface of Mars, using color filters that create a tenuous glow and thus convert the planet’s arid surface into that ‘promise of happiness’ which should be associated with everything related to beauty, according to Stendhal.”
likeafieldmouse:

Thomas Ruff - MA.R.S. (2012)
"A combination of the visual data obtained during explorations of Mars and the technological sophistication achieved in images on interplanetary space. As with all of these series on cosmic space, Ruff initially had to sift through a vast body of material that required a certain level of expertise to be able to select and thus interpret what is being seen through the images obtained. 
The series MA.R.S. offers a low-level aerial survey of the surface of Mars, using color filters that create a tenuous glow and thus convert the planet’s arid surface into that ‘promise of happiness’ which should be associated with everything related to beauty, according to Stendhal.”
likeafieldmouse:

Thomas Ruff - MA.R.S. (2012)
"A combination of the visual data obtained during explorations of Mars and the technological sophistication achieved in images on interplanetary space. As with all of these series on cosmic space, Ruff initially had to sift through a vast body of material that required a certain level of expertise to be able to select and thus interpret what is being seen through the images obtained. 
The series MA.R.S. offers a low-level aerial survey of the surface of Mars, using color filters that create a tenuous glow and thus convert the planet’s arid surface into that ‘promise of happiness’ which should be associated with everything related to beauty, according to Stendhal.”
likeafieldmouse:

Thomas Ruff - MA.R.S. (2012)
"A combination of the visual data obtained during explorations of Mars and the technological sophistication achieved in images on interplanetary space. As with all of these series on cosmic space, Ruff initially had to sift through a vast body of material that required a certain level of expertise to be able to select and thus interpret what is being seen through the images obtained. 
The series MA.R.S. offers a low-level aerial survey of the surface of Mars, using color filters that create a tenuous glow and thus convert the planet’s arid surface into that ‘promise of happiness’ which should be associated with everything related to beauty, according to Stendhal.”
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zeroing:

Michael Brandt