#subject-object-concept
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freelander.bsky.social
I don't know what percentage of dogs make it through the mirror stage?

Being able to develop apperception is this fascinating thing: the concept of being able to understand ourselves as an object rather than the subject is a sort of amazing phenomenon
September 29, 2026 at 1:09 PM
morchellandmath.bsky.social
After reading
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And if shadows tell us anything about object permanence, it’s even more telling that it actually takes about twelve years for some of these concepts to online, themselves of course never subject to impatience, fickle convictions, or short temperaments noteworthy of…

Actual adults.
If we accept that children consider shadows to be objective, to be a part of the external world, we can conclude that the concept of an objective thing is not linked to materiality even for the youngest children. Children are not as materialist as Piaget would have them be. In any case, their concept of matter is complex and does not quite match the (prescientific) concept in adults. According to Carey, until the age of twelve, children consider immaterial certain things (like air) that we consider material, and they consider material certain things (like heat) that we consider immaterial.
September 27, 2026 at 4:07 PM
yvonnezlam.bsky.social
It is clear, then, that in addition to its capacity to convert a subject’s veiled or latent aggression towards a vulnerable object into explicit aggression that seems to be directed toward the subject, cuteness names an aesthetic en- counter with an exaggerated difference in power that does something to ordinary or communicative speech. More specifically, the concept names a relationship to a socially disempowered other that actively transforms the speech of the subject who imposes the aesthetic quality on that other— abetting a fantasy of the cute object’s capacity for retaliation that we have seen Murakami explore.
September 26, 2026 at 7:31 PM
roygbiz.bsky.social
as a kid i was so obsessed with like, variants of things. like neopets paintbrushes made me lose my fucking mind. just the concept of Different Versions of a Subject or Object. Pretty Patties episode of spongebob was like visiting a candy store to me
August 6, 2026 at 3:52 AM
sabbateanfujoshi.bsky.social
Now dear, the subject-object distinction is quite a fraught concept. No fact of the matter hanging over the situation :)
July 23, 2026 at 4:46 PM
c0nc0rdance.bsky.social
After the person's sight was restored, they could see the objects, perceive them, but didn't recognize a cube or sphere by sight that they had previously touched.

It took "empirical experiences" of both touching & seeing the objects to have both sets of sensory data map to the same mind "concept".
The newly sighted fail to match seen with felt - PubMed
Would a blind subject, on regaining sight, be able to immediately visually recognize an object previously known only by touch? We addressed this question, first formulated by Molyneux three centuries ...
pubmed.ncbi.nlm.nih.gov
June 28, 2026 at 11:05 PM
errorxep.bsky.social
Ok it turns out there's some kind of postmodernist animism & from what little I've read in Wikipedia, it seems to be really awesome. It represents a lot of what I've been thinking about, including the "dividualism" thing

Maybe Ocallan & the Zapatistas have reflected on this?
Postmodern anthropology More recently, postmodern anthropologists are increasingly engaging with the concept of animism. Modernism is characterized by a Cartesian subject-object dualism that divides the subjective from the objective, and culture from nature. In the modernist view, animism is the inverse of scientism, and hence, is deemed inherently invalid by some anthropologists. Drawing on the work of Bruno Latour, some anthropologists question modernist assumptions and theorize that all societies continue to "animate" the world around them. In contrast to Tylor's reasoning, however, this "animism" is considered to be more than just a remnant of primitive thought. More specifically, the "animism" of modernity is characterized by humanity's "professional subcultures", as in the ability to treat the world as a detached entity within a delimited sphere of activity. Human beings continue to create personal relationships with elements of the aforementioned objective world, such as pets, cars, teddy bears, which are recognized as subjects. As such, these entities are "approached as communicative subjects rather than the inert objects prceived by modernists." These approaches aim to avoid the modernist assumption that the environment consists of a physicaa world ditinct from the world of humans, as well as the modernit conception of the person being compoused dualistically of a body and a soul. Nurit Bird-David argues that: Positivistic ideas about the meaning of 'nature', 'life', and 'personhood' misdirected these previous attempts tounderstand the lo'local concepts. Classical theoreticians (it is argued) attributed their own modernist ideas of self to 'primitive peoples' while asserting that the 'primitive peoples' read their idea of self into others! Like Bird-David, Tim Ingold argues that animists do not see themselves as separate from the environment: Hunter-gatherers do not, as a rule, apprach the evironment as an external world of nature that has to be 'grasped' intellectually ... indeed the separation of mind and nature has no paace in their thought Rane Willerslev extends the argument by noting that animists rejec this Cartesian dualism and that the animist self identifies with the world, "feeling at once within and apart from it so that the two glide ceaselessly, in and out of each other in a sealed circuit." The animist hunter is thus aware of vimself asiahuman hunter, but, through mimicry, is able to assume the viewpoint, senses, and sensibilities of his prey, to be one with it. Shamanism, in thisview, is an everyday attemyt to influence spiritsof ancestors and animals, by mirroring their behaviours, as the hunter does its prey
June 10, 2026 at 10:47 PM
epsteinweb.bsky.social
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EFTA01193978 | EFTA01194020 Man is dead. We are now concerned with the concept of process. "In return for the renunciation of accustomed demands on explanation, it offers a logical means of comprehending wider fields of experience, necessitating proper attention to the placing of object-subject separation."23 Instead of "man" and "not man," move the object-subject separation one step back to objectify a universe of simultaneous operations: the process of interaction of "man" and "not man," integrated on the level of the neural activity of "man." In this system there is "not only a universe, but there are also elements capable of observing this universe."24 The observation is through a nervous system similar to that of the observer-participant in the universe under consideration. Reality is no longer to be found hidden in the subjects and objects of "man" and "not man." EFTA01194020 Epstein Web iOS app on the App Store.
May 13, 2026 at 1:42 AM
epsteinweb.bsky.social
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EFTA00848687 | EFTA00848687 From: "Jeffrey E." <jeevacation@gmail.com> To: Subject: Re: Date: Fri, 14 Aug 2015 20:49:54 +0000 WHAT HAS CHANGED ZERO On Fri, Aug 14, 2015 at 4:02 PM, > wrote: Fm sorry if you feel like Pm not giving enough to you. You know I'm always ready and happy to do things that can make you happy. You are just making it impossible all the time finding new reasons to have a discussion... If you want something just tell me. I don't understand what did I do wrong. You say I never give which is the opposite of what people tell me. Since I'm in Cina you never asked me once if I was ok. I was always the first asking you to skype and trying to talk to you making sure you where fine... I wrote you an email telling you I could send you some tea ( don't see anything wrong with it). Anyways I'm fine and I arrived safe in Beijing. Thank you for asking. Hope you are well I venerdi 14 agosto 2015, > ha scritto: And maybe if I receive so much love from other people is also because I gave a lot. It's mutual I venerdi 14 agosto 2015, > ha scritto: I don't think so. You see, for example I'm going to Beijing now and I will be welcomed by my chinese friend. When he came to Rome for the first time I spend days staying with him, showing him all the beautiful places, taking him out to dinner and trying to make him happy ect... Now that I am coming he told me he will come to pick me at the airport. When I answered it wasn't necessary he told me: " you treated me like a prince in your country, I want you to be a princess in mine, you are my italian best friend" he did everything for me. This makes me think I'm not such a horrible person as you say. II venerdi 14 agosto 2015, jeffrey E. > ha scritto: i never said you are not grateful, not sure why you are finding it so hard to understand, you think of getting getting getting and then getting, On Fri, Aug 14, 2015 at 12:37 AM, > wrote: I 's a way of saying that I am greatful to Life. For what I Can give I already think of it myself I venerdi 14 agosto 2015, jeffrey E. < > ha scritto: i thank god for all i got.? not how i can give , but for all I GOT / again On Fri, Aug 14, 2015 at 12:30 AM, > wrote: I think of things everyday. When I told you about the camera, I don't care about the object itself; I Can buy it myself. It's just the concept that you gave my birthday present to someone else that made me upset. It's different. I give a lot to people, also since I'm here in China. I thank god everyday for all the beautiful things that I have got in my Life and how lucky I am to spend some time in this country. When I speak to you it's because I enjoy hearing from you, not beacause I want get, take something and when I tell you I would like to come to the ranch it's because I miss u. IN sorry you didn't understand nothing about me. II venerdi 14 agosto 2015, jeffrey E. < > ha scritto: no thanks, I think i more important that you start thinking of things other than what you want. get , take , etc. . On Thu, Aug 13, 2015 at 9:50 PM, > wrote: EFTA00848687
May 7, 2026 at 3:33 AM
epsteinweb.bsky.social
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EFTA00848677 | EFTA00848677 From: To: "Jeffrey E." <jeevacation@gmail.com> Subject: Re: Date: Fri, 14 Aug 2015 20:02:30 +0000 I'm sorry if you feel like I'm not giving enough to you. You know I'm always ready and happy to do things that can make you happy. You are just making it impossible all the time finding new reasons to have a discussion... If you want something just tell me. I don't understand what did I do wrong. You say I never give which is the opposite of what people tell me. Since I'm in Cina you never asked me once if I was ok. I was always the first asking you to skype and trying to talk to you making sure you where fine... I wrote you an email telling you I could send you some tea ( don't see anything wrong with it). Anyways I'm fine and I arrived safe in Beijing. Thank you for asking. Hope you are well I venerdi 14 agosto 2015, > ha scritto: And maybe if I receive so much love from other people is also because I gave a lot. It's mutual I venerdi 14 agosto 2015, > ha scritto: I don't think so. You see, for example I'm going to Beijing now and I will be welcomed by my chinese friend. When he came to Rome for the first time I spend days staying with him, showing him all the beautiful places, taking him out to dinner and trying to make him happy ect... Now that I am coming he told me he will come to pick me at the airport. When I answered it wasn't necessary he told me: " you treated me like a prince in your country, I want you to be a princess in mine, you are my italian best friend" he did everything for me. This makes me think I'm not such a horrible person as you say. II venerdi 14 agosto 2015, jeffrey E. < > ha scritto: i never said you are not grateful, not sure why you are finding it so hard to understand, you think of getting getting getting and then getting, On Fri, Aug 14, 2015 at 12:37 AM, > wrote: It's a way of saying that I am greatful to Life. For what I Can give I already think of it myself I venerdi 14 agosto 2015, jeffrey E. > ha scritto: i thank god for all i got.? not how i can give , but for all I GOT / again On Fri, Aug 14, 2015 at 12:30 AM, < > wrote: I think of things everyday. When I told you about the camera, I don't care about the object itself; I Can buy it myself. It's just the concept that you gave my birthday present to someone else that made me upset. It's different. I give a lot to people, also since I'm here in China. I thank god everyday for all the beautiful things that I have got in my Life and how lucky I am to spend some time in this country. When I speak to you it's because I enjoy hearing from you, not beacause I want, get, take something and when I tell you I would like to come to the ranch it's because I miss u. I'm sorry you didn't understand nothing about me. II venerdi 14 agosto 2015, jeffrey E. <1 > ha scritto: no thanks, I think i more important that you start thinking of things other than what you want. get , take , etc. . On Thu, Aug 13, 2015 at 9:50 PM, > wrote: They make very good tea here in China. Specially for white tea. I can send you some in NY if you'd like :) EFTA00848677
May 7, 2026 at 3:32 AM
epsteinweb.bsky.social
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EFTA00848360 | EFTA00848360 From: "Jeffrey E." <jeevacation@gmail.com> To: Subject: Fwd: Date: Tue, 18 Aug 2015 22:21:22 +0000 do you see any thank yous? no I can buy the camera myself / thank god Forwarded message From: Date: Thu, Aug 13, 2015 at 10:30 PM Subject: Re: To: "jeffrey E." I think of things everyday. When I told you about the camera, I don't care about the object itself; I Can buy it myself. It's just the concept that you gave my birthday present to someone else that made me upset. It's different. I give a lot to people, also since I'm here in China. I thank god everyday for all the beautiful things that I have got in my Life and how lucky I am to spend some time in this country. When I speak to you it's because I enjoy hearing from you, not beacause I want, get, take something and when I tell you I would like to come to the ranch it's because I miss u. I'm sorry you didn't understand nothing about me. Il venerdi 14 agosto 2015, jeffrey E. < > ha scritto: no thanks, I think i more important that you start thinking of things other than what you want. get , take , etc. . On Thu, Aug 13, 2015 at 9:50 PM, > wrote: I They make very good tea here in China. Specially for white tea. I can send you some in NY if you'd like :) please note The information contained in this communication is confidential, may be attorney-client privileged, may constitute inside information, and is intended only for the use of the addressee. It is the property of JEE Unauthorized use, disclosure or copying of this communication or any part thereof is strictly prohibited and may be unlawful. If you have received this communication in error, please notify us immediately by return e-mail or by e-mail to and destroy this communication and all copies thereof, including all attachments. copyright -all rights reserved please note The information contained in this communication is confidential, may be attorney-client privileged, may constitute inside information, and is intended only for EFTA00848360
May 7, 2026 at 3:21 AM
croifox.bsky.social
Rage, panic, loss of certainty in concept of self. Largely what's behind male violence against women partners who leave them, as I see it-- the panicked need to re-convince himself that she's a passive object he controls, not the subject she's just demonstrated being
April 19, 2026 at 7:15 AM
bodminhermit.bsky.social
WHAT IS IT?
Non-Duality is a slippery concept with many different spiritual and secular associations. Shinzen Young describes Non-Dual Awareness as “an experience of oneness between subject and object”. Others have defined it as an experience of intimacy with all things.
April 16, 2026 at 9:07 PM
goofballpaul.bsky.social
I like being greeted. The concept of conversation sounds nice but if I get hit with a single whole verb-subject-object sentence during the *titanic* task of browsing what's on offer my poor singular braincell WILL blow a fuse. U_U
April 15, 2026 at 10:26 AM
epsteinweb.bsky.social
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EFTA02553403 | EFTA02553403 Misha Gromov Thursday, December 7, 2017 2:10 PM Jeffrey E. Re: From: Sent: To: Subject: like non-spherical bottles distorts (intellectual?) growth o= cucmbers? On Thu, 7 Dec 2017 06:32:24.0500, jeffrey E. wrote: I posit that the ?"understanding " system is a group=system ,similar to the "visual "system in the individual. = a group "decides" on the cohere=ce of the concept where an individuals system decides on the f=cus and dimensions of an object. I have been in constant contact with chomsky , playing with my =dea that writing is good for the group and maybe bad for=the individual. slows the thinking forcing it into boxes=2E I love the idea that learning to read and write might hinde= intellectual growth to some degree. please note The information contained in this communication is confidential, =ay be attorney-client privileged, may constitute inside information, =nd is intended only for the use of the addressee. It is the property =f JEE Unauthorized use, disclosure or copying of this commu=ication or any part thereof is strictly prohibited and may be unlawfu=. If you have received this communication in error, please notify us =mmediately by return e-mail or by e-mail to jeevacation@gmail.com <mailtojeevacarion@gmail.com> , and destroy this communicat=on and all copies thereof, including all attachments. copyright -all =ights reserved EFTA_R1_01710420 EFTA02553403
April 13, 2026 at 4:49 PM
epsteinweb.bsky.social
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EFTA02552093 | EFTA02552093 From: Sent: To: Subject: jeffrey E. <jeevacation@gmail.com> Monday, January 1, 2018 12:48 PM jeffrey epstein radical breakthrough 1 beards and long hair , =re meant to catch and hold smells. ? 2. visi=al system cohernant image. . fft equivamen=. . for sound. making a coherentt sound. . ?=C2 does it make a coeherent concept.? =AO 3. a mental object ie mobject. . =AO action on mental objects. . ? =4. hope opposite of despair. . bias internal syste= . accesing reserves. . 5. writing is unnatural. a=symentrc speed. . not good for eveeryone. li=ear. slow. rule based. . 6. nose test. telep=thy. . . 7 skin as part of brain? . =AO memebrane. ? 8. ideas or brain connection= as knots. slices. tangles links loops= is space knottted. and the speed of l=ght simply mean one time around . obviously a constant. = intelltignce on surface , needs larger surface area= hence replication. . 10. does the eye tranmsit informat=on. 11/ fear is pain in the future. . 12. music is=horizontal and vertical inforamtion ? melody prosgy harmony , =all amials. can it be looked at to reengineer the brain. =AO harmony FFT. symphonic learning. . . 12. micro =ioome anti biotics. recall smell. ? psyche. memor= etc. 13. only 6 senses? 13 individulal =AO vs the group ? ? 14. all senses act in a =arrow band. survival. fitness. . 15. drive motivation. g=al? 16. deception and its role in biollogy. 17 pow=r. financail. physical mental. . 18. power lawws a=d probabality. gravity.? 19. plants. =C2 communication. surface area. similairy tohumnas. =C2 . do we get plant diseases. ? 20. biolgy , =C2 np complete? 21 sense calculation matrix. =AO , sound receiver and transionni . gesture= . . tounch . temp.pressure. location. . sight. fr=qunecey. ( temp_. location. movement. , smell. transmit. recie=e. . volatile. amplitude.. disgust? is location a sense= near food? direction. to food. ? 22 . deriv=tion of the power flaws. 23 power of words . =24. questions = Al to the minus 1 25. =AO belief , survival. meachinsim for some. . placebo. . 26. taste?=C2 food? kissing? 27 . mortaltiy tables. why. =C2 points on the distribution. wittegenstein. . . =AO 26. money. agreements. debt .=pwer. value wealth. cost. gromov deepak. church. martin. =AO hopkins.danny, joscha watson, chomsky. . . thiel.hoffman, s=nofsky terje. ehud. bannon. barrak. ruemmler. reid. karp. . =AO woody, blaine. cavett. sultan=jabor raafat. anas . joi, reid. wolf. lang.. \ deepakbarnaby =ben masha. , melz eva mosc. bernie. rony , merill. attia, chen, =AO farkas leon . membrane computing. FFT. energy to deconstruct. . harmony. .=C2 . knots. . the explainer. ( survival ) . =AO matrix algebra, - senses. face /image recogniton. /=C2 focus, accupnutre presure massage. pain. placebo illusions, =AO visula aurel. . honest signals. evolution. =AO resource. rate of loss. . payoff matrix. . cooperation. =AO stochastic games. =div class="gmail-m_-6354643324659015495gmail_signature"> The informa=ion contained in this communication is confidential, may be attorney-cl=ent privileged, may constitute inside information, and is intended only=for the use of the addressee. It is the property of JEE Unauthori=ed use, disclosure or copying of this communication or any part thereof=is strictly prohibited and may be unlawful. If you have received thiscommunication in error, please notify us immediately by return e-mail =r by e-mail to EFTA_R1_01708668 EFTA02552093 Epstein Web iOS app on the App Store.
April 13, 2026 at 3:42 PM
epsteinweb.bsky.social
EFTA02540578.jpg
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EFTA02540578 | EFTA02540578 From: Sent: To: Subject: jeffrey E. <jeevacation@gmail.com> Monday, January 8, 2018 7:20 PM jeffrey epstein Fwd: radical breakthrough 1 beards =nd long hair , are meant to catch and hold smells. ? 4,>=A0 2. visival system cohernant image4=A0 . fft . equivament. . for sound.4)=A0 making a coherentt sound. . ? does it makee>=A0 a coeherent concept.? 3. = mental object ie mobject. . action on mental obje=ts. . ? 4. =hope opposite of despair. . bias internal system . acces=ng reserves. . 5. writing is unnatural. a=symentrc speed. . not good for eveeryone. li=ear. slow. rule based. . 6. nose test.=C24> telepathy. . . 7 skin a= part of brain? . memebrane. ? 8. ideas or brain connections as knots. 40=A0 slices. tangles links loops. is space kno=tted. and the speed of light simply mean one time =round . obviously a constant. 9. . intelltign=e on surface , needs larger surface area. hence 4>=A0 replication. . 10. does the eye tranmsit information.40=A0 11/ fear is pain in the future. . =div>12. music is horizontal and vertical inforamtion ? melody =rosgy harmony , all amials. can it be looked at to ree=gineer the brain. harmony FFT. symphonic learning. 13 individulal vs the grou= ? ? 14. all senses act in a narrow band.40=A0 survival. fitness. . 15. drive motivation. g=al? 16. deception and its role in biollogy. 17 power. financail. physical mental. = 18. power lawws and probabality. g=avity.? 19. plants. communication.=C2. surface area. similairy tohumnas. . do we ge= plant diseases. ? EFTA_R1_01689499 EFTA02540578
April 13, 2026 at 5:05 AM
totetmatt.fr
github.com/milla-jovovi... Using concept of knowledge with subject, object , predicate . IS 2026 FINALLY THE YEAR OF #RDF ? :p
GitHub - milla-jovovich/mempalace: The highest-scoring AI memory system ever benchmarked. And it's free.
The highest-scoring AI memory system ever benchmarked. And it's free. - milla-jovovich/mempalace
github.com
April 7, 2026 at 12:35 PM
equitableforall.com
"This article discusses...epistemological violence in the empirical social sciences. It is...closer to personal than to structural violence in that...the subject of violence is the researcher, the object is the Other, & the action is the interpretation of data that is presented as knowledge."🔥🔥🔥🔥🔥🔥🔥
March 30, 2026 at 6:27 PM
aitechtonic.bsky.social
From visual references to dynamic content: The creative efficiency revolution brought about by AI video generators

Creatively designed products are always subject to compromises; they require innovative solutions while also balancing productivity, consistency, and how the object will actually be…
From visual references to dynamic content: The creative efficiency revolution brought about by AI video generators
Creatively designed products are always subject to compromises; they require innovative solutions while also balancing productivity, consistency, and how the object will actually be created. By 2026, image and video generation using AI technology will be recalibrating this relationship—not replacing designers, but dramatically shortening the time span between concept creation and product presentation. What will significantly increase is the ability to iterate: more options will be validated quickly, there will be more ways to solve a problem, and there will be more opportunities to optimize the details of a project continuously, therefore reducing repetitive communication and redundant reworks.
aitechtonic.com
March 25, 2026 at 12:18 PM
tom-effing-paine.bsky.social
He doesn't have perceptions and memories, is the thing. What makes it a perception isn't the neural state alone; it's the entire system of object, medium, and subject. Likewise, memories are caused by what they're of. I have the concept of Coke because of actual Coke.
March 19, 2026 at 5:24 PM
solidarity.pizza
« to what extent is a [place] a real space, and is [that place] real to us in any other way other than its image? »

kim woltmann, "place self: identity at the crossroads of place and time in catherine opie's los angeles landscape series, 1988-2004" (dissertation, stony brook u, 2014), 55-56 & 62-63
In order to take the Freeways photographs, Opie had to pull over onto the shoulder of L.A.-area highways. There she set up a panoramic-format view camera. This involved balancing the camera onto a tripod, positioning the bellows, composing and perfecting the shot on a ground glass image while standing underneath a dark cloth, exchanging the ground glass for the film holder, removing the darkslide, cocking and then releasing the shutter, exposing the film, and then finally replacing the darkslide. Needless to say, Opie's process was amazingly labor- intensive and therefore dramatically impractical considering the setting. Although the images do not require any knowledge of the specifics regarding the production of platinum prints, they at the very least clearly disclose where Opie had to stand in order to achieve the various compositions. But they are also so carefully composed, deliberate, and meticulously designed that it is also apparent to most viewers that Freeways is the result of a veritable roadside studio shoot. Although not as daring and exploitative as tagging the side of a mile-high bridge, the series' feat of production is also what makes the images compelling — not just because it is intriguing and entertaining to speculate as to the audacity of Opie's methods, but also because the act of stepping out of one's car, of walking on a highway, and certainly of using a highway as scenic overlook, is not only unusual but a transgressive act in and of itself. The photographs proclaim the elaborate demands of their set-up in order to amplify the fact that their images are records of a political performance. There are two components of this political performance. The first is the indictment of vision and the awakening of a visual consciousness. In an ever- increasing media-saturated world, our conception of reality is progressively influenced by images; thus, how we see is implicit in informing what we understand. The second pertains to content and includes not only the political overtones as symbolized within the freeway as an icon, but also the realization of the freeway as an anesthetizing urban feature, one that not only permits social ignorance, but can also eerily construct an illusion of knowledge. I will first discuss the politics of vision. But therein lies yet another contradiction because the freeways do exist, and moreover, Opie's physical presence as their photographer, her presence as evident in the images, bears witness. The ontological question then becomes to what extent is a freeway a real space, and is a freeway real to us in any other way other than its image? For the driver, the freeway is cinematic image, an infinite stretch of pavement disappearing at the horizon line but never actually terminating. It is also primarily a visual experience of place, a landscape always separated by a screen, framed to restrict the view to a single vantage-point, temperature-controlled and protected from the elements, and soundtracked by either white noise or the driver's preference. The highway system conditions a specific spatial understanding of the city as no longer a location, but rather an origin and terminus on a time —not a distance-continuum. Vision is implicit in this conditioning because it makes travel cinematic, rather than physical, further converting transmission over space into transmission through time. Opie's photographs evoke the realization that a highway might be the most colonized of places within the urban environment and yet no one has actually been there. What one is looking at then is not so much a real place, but a conceptual construction. The indexical relationship between Opie's photographs thereby disrupted, as the photographic trace refers to a subject that is itself more of a manufactured concept than a corporal object, an icon without a referent. Opie's use of grandiose 19th- century pictorialist style reinforces this understanding through its nostalgia. The old-fashioned print process and reverential treatment of Freeways renders the depicted highways as ruins and the series as a whole as a kind of memento mori —not for the highway system itself, but for its iconic identity as the symbol of postwar affluence, industrial optimism, and the promise of modernity. It is a tribute to an ideological past that never actually was.
March 4, 2026 at 1:24 AM
wjbphoto.bsky.social
And it's not about to become any easier...

This week we will be tackling Portrait Photography for the #AlphabetTechPhoto sub-challenge. But, fear not...portrait photography techniques can be used on inanimate subjects.

*See Alts for basic tutorials.

Good Luck and Happy Shooting!
While traditionally focused on capturing the "essence" of a person, this concept can be adapted to objects through a genre often referred to as "Inanimate Portraits" or Symbolic Object Photography. Still life photography: A guide to capturing beautiful ... By treating an object like a living subject, you can elevate it from a simple "product shot" to a meaningful narrative piece. Here is how portraiture principles translate to inanimate things: 1. Capturing Personality & "Essence" In traditional portraiture, the goal is to reveal the subject's character. With objects, you can achieve this by: Anthropomorphism: Arranging objects to suggest human-like emotions, poses, or "glances". Identity Representation: Using a person’s belongings (like a collection of specific personal items) to create a surrogate portrait of that individual without them being in the frame. 2. Applying Portrait Techniques Many core portrait skills transfer directly to photographing static objects: Lighting: Just as you might use soft boxes for a flattering human portrait, you can use directed, dramatic, or soft window lighting to add "mood" and "life" to an object. Depth of Field: Using a shallow depth of field—a hallmark of portraiture—helps isolate the object and draw the viewer's eye to a specific "feature" or texture, much like focusing on a subject's eyes. Composition: Techniques like the Rule of Thirds or environmental placement (showing the object in its "natural habitat") help tell a story about where the object "belongs". 3. Practical Benefits for Beginners Inanimate subjects are often recommended as the perfect "models" for practice because they have infinite patience. You can take your time adjusting lighting and angles without the pressure of a human subject getting tired or bored. Portrait photography focuses on capturing the personality, identity, and essence of a subject—an individual or group—through, lighting, posing, and composition. It goes beyond mere documentation to tell a story, often utilizing soft, natural light, flattering angles, and purposeful backgrounds to create emotional, engaging, and memorable images. Key Elements of Portrait Photography: Lighting: The most critical element. Soft, natural light (e.g., during sunrise/sunset or in shade) is generally preferred to avoid harsh shadows. Using reflectors can help fill in shadows and create a "catchlight" in the eyes, bringing them to life. Subject Connection: Making the subject feel comfortable and at ease is essential for capturing genuine, authentic expressions. Building rapport before the shoot helps the subject relax. Composition and Framing: Backgrounds: Choose backgrounds that complement, not distract from, the subject. Focus: Ensure the eyes are perfectly in focus. Angles: Experiment with different camera angles, such as shooting from slightly above for a more flattering look or at eye level for a direct connection. Framing: Avoid cutting off limbs at joints (e.g., knees, ankles) to prevent making the subject appear shorter. Camera Settings: Using a wide aperture (e.g., f/1.8 - f/4) helps to blur the background, making the subject stand out. Portrait Types: Portraiture ranges from traditional, posed studio shots to candid, environmental, and editorial styles. Tips for Success: Use a flattering lens: Prime lenses like 50mm, 85mm, or 100mm are popular for their sharpness and lack of distortion. Color harmony: Consider the color of the subject's clothing in relation to the background to create a cohesive look. Plan the shoot: Discuss the purpose and mood of the portraits with the subject beforehand to ensure the desired outcome.
February 1, 2026 at 7:41 PM
aainalbion.bsky.social
Dawn Zazen. The outward world of subject and object draws attention towards it. The inner world of concept and discursive thought ruses like a chattering tide. Encompassing yet transcending either, unnamed, sit quietly and observe.
January 17, 2026 at 9:01 PM
mackuro.bsky.social
🌀 3. Cézanne as the Painter of Sensation (Deleuze’s Key Concept)

In Francis Bacon: The Logic of Sensation, Deleuze defines sensation as:
• not perception,
• not representation,
• not emotion,
but a block of becoming, a zone of intensity that precedes the subject-object divide.
January 13, 2026 at 1:55 PM