אכזרי סוף שנעשה אכזרי במקום רחמן
Kol mi shena`asa rahaman bimqom akhzari Sof shena`asa akhzari bimqom rahaman
All who are made to be compassionate in the place of the cruel In the end are made to be cruel in the place of the compassionate.
More colloquially translated: "Those who are kind to the cruel, in the end will be cruel to the kind."
Online Source: http://www.rishon-rishon.com/archives/044412.php
I've embarked on a great reduction in privacy by bookmarking my web-based reading on the "delicious.com" utility. It may tip my hand as to what I have in mind for blogging, but the same may help friends and frenemies alike track my thinking: here is the URL:
Main web: www.communicating-arts.com
E-Mail: [email protected]
Also: as of 2011, I am building a photography print-on-demand presence at Fine Art AmericaM. This is the address:
Effort in print-on-demand will not offset the production nor value of signed, limited edition prints made under my own hand. However, for very good convenience, price, and quality, print-on-demand may work out well for many fans and patrons.
If you're engaged in funded research in conflict analysis or other areas that may be addressed here and wish to engage my mind in your project, feel welcome to drop me a note at [email protected].
Communicating Arts - Main Web Site
Barn visible from Longmeadow Road, Hagerstown, Maryland, Jan. 2, 2010.
It's 15-degrees F.(ing) cold out there today with a wind chill of -4. Much better to be in and reading, sipping hot tea, and working with illustration.
I may make it a rule here to print everything presented once or twice at least.
We may surf an awful lot in cyberspace, but we must still live in realspace with real walls that want something like art.
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Evergreens screen a tennis court at Pangborn Park, Hagerstown, Maryland, Dec. 30, 2009.
I've no wish to starve mucking around this year but feel that both outdoor and indoor (digital suite) adventures in photography may be in order. Life's always a little more interesting tackling what we don't know how to do than doing what we've done over and over (and over) again.
Would the above look better in blue, sepia, iced, high keyed, patched out as a watercolor?
I could notch it up to its bare lines or outlines or pound it down to abstract blocks.
I'm curious too, however I mash it, to note its looks on a 13x19 sheet of Hahnemuhle rag.
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One of my goals has been to upgrade my Adobe Design Suite skills from Photoshop to Illustrator to InDesign to Dreamweaver, and thereby produce new custom or hands-on capability for print and web publications art, design, and layout--I've had the copywriting part pegged for some time.
Design, illustration, layout, and photography software draw both on practical, technical vocabulary development as well as intuition. While anyone, essentially, may do something with many parts of the Adobe suites, there seems to me, as in music, a difference between topping out with three chords for playing guitar and pushing on to ascend to more capable Segovian heights.
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Whatever I may do with Photoshop (CS4), the basis starts with time in an environment discovering, exploring, or experimenting with subject. Whether rendered "straight" (with fidelity to The Real) or played with as graphic art and illustration, the process--my process--necessarily starts away from the computer.
In the beginning, I had already a few "arts and letters" habits--I was the kid with his nose in a book and a pretty good feel for the piano--when my oldest brother put a Minolta SRT 100 in my hands. It was a tool I could use--and thought I would use--outside of the house, whatever other constraints there might be. The years have proven ironic by locating a great part of the effort in photography at the computer--once again, indoors, in a room, separated from earth, air, wind, and much in the way of both fire and rain.
Even alone, it seems one has to fight to go out!
The print, the tangible one, now seems the end of a long process, part of it embedded with the life, for all who look at photographs know well where the photographers stood, part of it born with accumulated ideas about visual art and the part of one's self that extracts from reality certain scenes at certain moments.
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