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17 hours ago, Kl@usW. said:

Thank you for the clarification.  I can see clearly now: Your book is the redacted first print of a joint venture of Kafka on the left side with an unpublished short story and an early draft of Becketts Waiting for Godot  on the other side. They agreed on this "cadavre exquis" when they met as incubi on the chest of the snoring leader of the Vatican commission dealing with the " Index librorum prohibitorum" -- a list they try to expand; so don't turn your head, Rog.             😂

My muddy waters are so transparent, but I'm obliged to triangulate with Borges in the constellation of Kafka and Beckett. I suspected an appreciative echo of Kafka in the surrealism of Borges, so understand my enthusiasm when I discovered on eBay a thin volume of Kafka's La Carta al Padre (Brief an den Vater) inscribed in 1955 to Estela Canto, Borges's sweetheart,  by translator D.J. Vogelmann. I will allow that the circumstantial evidence that Borges actually read this book is weak, simply because his sweetheart had a copy. There's also the fact that the binding of the book is very tight, not the hallmark of a well-read book. Still, it sits on my bookshelf whispering possibilities. And so, it happens to be near a favorite, Rome Reborn: The Vatican Library & Renaissance Culture, edited by Anthony Grafton. I mention this because it has an intriguing plate of Galileo's 1612 Sunspot observations, which caused a stir because it documented the existence of spots on the sun, evidence it was not the perfect, unchanging body of Aristotelian cosmology. Inspiration for the author of brutal redaction. Librorum prohibitorum. Your excavation of ideas is providing a wealth of prompts for personalized license plates.

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15 hours ago, philipus said:

I seem to see a raised elbow, as in the tell-tale sign of a Leica M photographer :) Wonderful electric metallic colours Rog, the green looks like the nuance one can see on certain bugs.

Guilty as charged. Thanks for reminding me how buggy I get sometimes when all that is left is a blurred selfie. As Dr. Klaus convicts, it's getting very Kafkaesque in here with the circus off key.

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12 hours ago, christoph_d said:

I think it was indeed... 

Interesting instinct, the contrast of this (what used to be) Vespa mode of transport and a wall that argues against it as a barrier. It's an abstraction that confounds in an aesthetic way.

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Something from the not-so-dusty negative collection:  dreaming of a summer evening at a gateway to the edge of England.

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Leica M6 with Elmar-C 90 on Kodak Ektar 100.  The slight magenta tinge is typical of early evening light in this part of South East England.

Edited by John Robinson
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Berlin Bahnhof Zoo Lieca M2 CV 3.5 28 mm Fuji 200

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Au Louvre by JM__, on Flickr

Rollei 25 - Leica MD - 16mm Zeiss Hologon M

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Au Père Lachaise by JM__, on Flickr

Acros 100 - M3 - 35 mm f2  LLL 8 element Replica 

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Never having ventured this far out of the box, with a post, I can contain it no longer. he is my favorite composer/musician. It is difficult to imagine greater mastery with dissonance and resonance.  Carlo Domeniconi.....reminding us that we are analog beasts.

 

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Hollow.

Nikon F2 / Nikkor 35/2.8 / Kentmere 400 / Xtol

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Velvia ISO 50 film (B&W convert), Mamiya 645 AFd, 120mm f4 lens, NCPS Lab.   f/4.0, 1/180s

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Covid walks

XPan | Expired Ilford FP4+ 125 | HC-110(B)

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Little fly resting on a leaf.

Velvia ISO 50 film, Mamiya 645 AFd, 120mm f4 lens, (f/4.0, 1/180s)

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MP / 35 summicron v1 / 400 TriX

Barbizon (France)

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Velvia ISO 50 film, Mamiya 645 AFd, 120mm f4 lens, (f/4.0, 1/180s)

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MP / 35 summicron v1 / TriX 400

Paris

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11 hours ago, stray cat said:

shrubbery 2021

m6ttl, 50mm, ektar

The exquisite order of a disordered world reined by branding with the ghost of traffic unseen, waiting for a cue. Handsome precision with the note of complementary red/green, who but perhaps Ralph Gibson would embrace shooting at noon in the bright sun? And that single foreground pole, so important in its proclamation of depth perspective, so Wright. This is one of those compositions that simultaneously argues either black and white or color, sending the jury into deliberation for such a long time that it may prompt a cry for mistrial..

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