On Being Human, Photo Creation, Chaos and Understanding - Spencer Lum (Tue 08 Jan 2013)

Taking Human Pictures (*) - Erskineville Road / Erskineville (Mon 31 Dec 2012)
Spencer Lum (*) writes On being Human (*) and Photo Creation (*):

Human pictures aren’t pictures of people.

They’re pictures that mean something to people.

And there are as many ways to create them as there are pictures to take.

to which he expands On Chaos (*) and On Understanding (*):

Take this crazy, complex, overgrown world of ours, distill it down to something, and you’ve done exactly what you’re supposed to do.

You’ve restructured a systemic chaos more complex than we’ll ever know into terms we, as humans, can understand.

via Taking Human Pictures (*) by Spencer Lum (*).

On Numbers and Performance - Vernon Gambetta (Thu 23 Oct 2014)

The Numbers - GPS Results for an Outrigging Training Session - (Thu 23 Oct 2014)
Functional Path Training (*) writes on Numbers (*) and Performance (*):

Numbers need context. Numbers are one dimensional, human performance is multidimensional. We must focus on the human element, the athlete; they are not integers in an equation.

via It’s Still Just A Number (*) by Vernon Gambetta (*).

The numbers always tell a story if you know how to look at them.

The trained eye can see more than the numbers. They see the elements that create them - the environment, human performance and emotion they reflect. I've learnt so much from the numbers and I know how to read them for the sport I have been participating for almost ten years now - an example (*).

I've also seen how the environment, physical and mental reflect their way into performance and as a result, the numbers. I guess it's called experience. You can sit back and let experiences pass you by without even noticing. But if you stop and reflect on the experience, you will remember the how's and the why's of the result. They feed back into future experiences and you will improve.

I do know what Vern talks about though. The numbers are a guide and should not be the be and end all. You have to be there to see how the human element influenced the performance, which are reflected in the numbers. It's the context Vernon talks about.

The things that make us the most human and the most powerful - SpencerLum / Ground Glass

Jenny and Joanne / Glen Coe - Alexandria (Sat 23 May 2015)

Spencer Lum on Vision, Dreams, Hopes and Purpose::

the moment we give up our vision in favor of the common and the accepted is the moment we lose touch with our dreams, hopes, and even our purpose. The things that make us the most human and the most powerful.

via What I learned from living my desperate life by Spencer Lum.

On Dogs, Humans and Love - Richard Glover / Spectrum (Sat 12 Sep 2015)

Me and Teal - "Always be nice to a dog - always say hello to a dog" - Victor Hugo Market Restaurants / Toulouse / France (Sun 19 Sep 2009)

Richard Glover on Dogs, Humans and Love:

Worse things have happened to you and worse things have happened to me, but there's nothing like the death of a good dog to bring tears that are so hot and unrestrained. [..]

Every dog has lessons to teach. They are experts, of course, in demanding love. Humans, quite often, seem to doubt whether they are worthy of love, but dogs have no such uncertainties. "Look at me, just look at me," Darcy would say and, as my eyes met his, it was impossible not to submit to his unspoken demand.

"What a good dog. What a handsome dog. You are the best dog that ever was."

Then Darcy would return the favour, looking back as if to say: "What's next boss? You, after all, are my favourite human and I would follow you anywhere, through hot deserts or raging streams or high mountains."

This giving and receiving of love seems so right, so nourishing, one wonders whether it might have useful application outside the world of dogs. I'm guessing that's what Darcy was trying to teach us.

via Do you ever get over the death of a dog? by Richard Glover.

Something about our pets that makes us more Human. A touching article and it brought a tear to my eye for many reasons. Some obvious, but others less so ..

Emotional Preparation For The Olympic Games by Cal Botterill

Emotional Preparation For The Olympic Games by Cal Botterill

A great article and one worth reading. Here are some random points ..

Being clear minded should be an important objective going into the Games [Championships]. Once again though, it is critical to feel focused and occupied and to avoid falling into the human tendency to start overanalyzing. It has been suggested that "nothing never happens"; in the absence of a constructive focus our minds sometimes start "over-thinking" or "over-perceiving."

• Enjoy the emotional spectrum that is part of life.



• Accept and experience feelings, let them go, and channel the energy into growth and effective responses.



• Respect the power and positive and negative significance of emotions on your system.



• Manage relationships and time so that you do not become emotionally drained at key times in your life, especially when working hard physically and mentally.



• Let go of irrational beliefs and perspectives.



• Reaffirm your mission, values, and perspective.



• Live. Never have to say, "I wish I would have ..."

An athlete should be confident in mental skills going into the Games [Championships]. Responses to stress and boredom should automatically be constructive, and time and relationship skills should be crisp and effective. Creative simulations, quality training sessions, and lead-up competitions can help ensure the rust is off attention and competitive skills during the countdown.

He concludes with the following:

I would say to each of our Olympic athletes: Walk away knowing you gave it your best shot and exulted in the opportunity to test yourself in one of the most prestigious and emotional environments in the world. Accept that you can never totally control your emotions that is part of the challenge of being human. With emotional preparation, practice, and management we can often come closer to our situational potential.

Compete with passion, perspective, and preparation and be all you can be as you pursue your Olympic destiny. I wish you physical prowess, a clear mind, and an unburdened heart. Citius, Altius, Fortius! [The Olympic Motto]

Definitely worth a read. Take from it what you can for your own mental preparation.

PD's Mixed Team Pre-race Team Huddle - 2011 Nationals - Canberra (Fri 01 Apr 2011)
Willy and George - Pre-race Preparation/Rituals - Senior A Mixed 500m Final - Racice /Prague (Sat 29 Aug 2009)

Some Down Time - Chinese New Year - Darling Harbour / Sydney (Sat 06 Feb 2009)
Turning it on - World Club Crews - Penang / Malaysia (Sat 02 Aug 2008)

Tokyo, the 50's - Ikko Narahara

Tokyo 2012 - Sumida / Tokyo (Sat 22 Sep 2012)
Ikko Narahara (*) writes in the preface to Tokyo, the 50's (*):

Tokyo, the 50's
When I First Roamed the Streets
by Ikko Narahara (*)

Photographs arrive suddenly from out of the future. For it me it was always like that. Suddenly I would reach out and grab it in midair - the photographs had appeared by itself in my hand. Whenever I pushed the shutter button, my body seemed to become transparent, as if it were out int the middle of the photograph. And as I continuted to take photographs over the years, I came to feel that the images I took had already buried in matrixes of some sort in the space of the future, where they remainded waiting for the moment when I would one day dig them up. That must surely have been how it was. From that time of the big bang with which the universe started and began its evolution, perhaps even though the will of the universe latent in the fluctuations in the "nothing" preceding the big bang, these experiences had surely been prepared for. I am simply a messenger sent to meet up with the images and rescue them. This is the only way I can reconcile myself to the strangeness and mystery of having brought so many photographs into the world.

Possessed by thoughts like these day after day, I suddenly remembered I'd forgotten something - the photographs I had taken when I first began roaming the streets.

I bought my first camera in 1954. I got it to use for my planned work., "Human Life". At the time I couldn't have imagined that after exhibiting that work my whole life would change course toward photography and toward the person I am today. In the intervals between photographing "Human Land" I used to walk the Tokyo streets with my camera. I didn't have any special or clear purpose in mind. My family had often moved to different locations in western Japan, and since I was a child I'd had the habit of thoroughly exploring each new location. I felt the same interest in my exploring Tokyo, whereI'd lived since I came there as a college student. The only difference was that now I carried a camera with me. I breathed photographs on Tokyo street corners the way I breathed air. In my viewfinder those street corners changed into "streets in my photographs." Whenever I released the shutter, I seemed to hear the beat of modern jazz, which I loved so much. I remember I kept on rambling the streets in this way until I became involved in taking my next work, "Domain" in 1958. I was so lazy that I only printed a few of these photographs. The negatives lay buried their negative case, where I forgot about them. By chance, however, I remembered these negatives from forty years earlier. For the past three years I have again been photographing in the streets of Tokyo, and this brought back the memory of my earlier roamings.

"I'd really to see them .. I wonder what photos I took back then?" I couldn't even remember most of the images, and very few of the contact prints remained. But the moment I realized I wanted to see them, I was overcome with the strange feeling of being faced with the all too obvious and simple fact that photographs have to be printed in order to be viewed. After all these years I'd become thoroughly accustomed to the life of taking photographs, and yet here I was suddenly realizing that all too easily I'd vaguely assumed that once I'd pushed the shutter the things I'd taken simply continued to exist by themselves. But even for me, they were actually nothing more than events lying latent in my mind. As mere negatives there were like inverted ghosts; they had to no reality as photographs. I was shocked to realize that those negatives still lacked real existence, and then I had to laugh at my own blindness.

Before long, from what seemed to be the negatives, I made new contact prints and began to look through them.

As I put them into the enlarge, I could hardly wait to see how they would turn out. Unrecognizable images of which I had almost no memory began to appear before my eyes. Were these really my photographs? The photographs came into being like starlight arriving from forty light years away.

Past time buried in the time of the future - a sleeping time with with its eyes suddenly wide open. Through this small astonishment I was also tasting the strangeness and wonder of photographs. As that time my darkroom was filled with the paradoxes of time travel.

I've come to see that these photographs, which excavated the light and wind of the 1950's, were unmistakably the first steps in my travels through cities which would turn into the rest of my life. [..]

I bought this book following this Review (*) by Jesse Freeman (*). The preface is one of the most amazing pieces of writing on photography I have read, and I have read a lot. A beautiful book, both in words and photos, and I am so glad I took the risk to buy it on a whim.

On Calculus - ImprovOmega / Slashdot (Fri 25 Apr 2014)

Flower - Jardim da Estrela (*) - Lisbon (Wed 14 Aug 2013)
ImprovOmega (*) writes On Calculus (*), and its elegance (*) and beauty (*):

The brilliance of calculus (*) is the usage of infinitely many infinitely small rectangular slices to nonetheless derive an exact measurement of the finite area under a curve.

At its core, calculus is the merging of the infinite and the finite. When you truly understand it, it is one of the most elegant (*) and beautiful (*) discoveries in human history.

via Ask Slashdot: Books for a Comp Sci Graduate Student? (*) by peetm (781139) (*).

Like this one. Reminds me of what I felt when I first learnt calculus in high school.

After 12 years or so of not reading Slashdot (*), I have started following again to keep up the latest in the nerdy tech world I have always lurked as a fringe-dweller (*).

On Being Interesting - Maria Popova (Fri 26 Jun 2015)

Whosus - North Head / Sydney Harbour (Sat 27 Jun 2015)

Marie Popova on being Interesting:

The key to being interesting is being interested

via Emerson on What Beauty Really Means, How to Cultivate Its True Hallmarks, and Why It Bewitches the Human Imagination by Marie Popova.

We are all interesting in our own ways. We all have our own interests.

I am not gonna give in - Ending Ascent - Livestrong (youtube)

"I am not gonna give in" - Livestrong - Ending Ascent (youtube)
From Ad Forum:

"engine" is a Nike film about LIVESTRONG.

The film finds Lance Armstrong climbing a mountain on a training ride.

Around him, fuelling him, are a peloton of voices.

These voices are the words of people all over the world making efforts in the spirit of LIVESTRONG.

As Lance Armstrong rides, the voices tell of people facing challenges, facing cancer, coming to grips with what's next, getting up and improving their lives, inspiring others and making amazing goals come to life all over the world.

In the end, the "engine" in the film is both Lance Armstrong and the meaning of LIVESTRONG in all these people's lives.

It's what can be accomplished together with the idea of living better and supporting each other all summed up with Nike and its message of human potential:

Just do it.

Ordinary - Bernadette Jiwa / Story of Telling (Fri 08 Dec 2017)

Crossing / Intersection - Fremantle (Mon 27 Nov 2017)

Bernadette Jiwa on Ordinary:

Thoughtful, human acts carried out without applause are worth more than grand gestures made under bright lights. The ordinary is underrated.

via In Praise Of The Ordinary by Story of Telling.

The sweet taste of change ..

I recently had the opportunity to tell the following story between sets at a recent Australian Dragon Boat training session. It comes from the Novel By the River Piedra I Sat Down and Wept by Paulo Coelho. Here it is ..

The padre took a deep breath. He hesitated for a moment and then said:

"A scientist who studied monkeys on an island in Indonesia was able to teach a certain one to wash bananas in the river before eating them. Cleansed of sand and dirt, the food was more flavourful. The scientist - who did this only because he was studying the learning capacity of monkeys - did not imagine what would eventually happen. So he was surprised to see that the other monkeys on the island began to imitate the first one."

"And then, one day when a certain number of monkeys had learned to wash their bananas, the monkeys on all of the islands in the archipeligo began to do the same thing. What was surprising though was the other monkeys learned to do so without having had any contact with island where the experiment had been conducted."

He stopped. "Do you understand?"

"No" I answered.

"There are several similar scientific studies. The most common explanationn is that when a certain number of people evolve, the entire human race begins to evolve. We don't know how many are needed - but we know that's how it works."

Premier Open 500m Final - IDBF Dragon Boat World Champs - Sydney 2007 (Sun 23 Sep 2007)
A bit of a ramble to follow ..

Whenever I go to a Dragon Boat Regatta, I always look at the other teams when they are racing and I am always amazed at all the different techniques that are on display. Not one team is the same. I have seen so many variations on how to paddle, I know there is no one right way. The main thing is that a team and all its paddlers are consistent with their technique and blend together as a team. There are always slight variations between the paddlers, but overall everyone is pretty much doing the same thing.

How is this done? Firstly, a coach or coaching team will decide on a technique to be used. Most coaches are often learning and looking for new ways to make the team go faster. So from season to season you will see changes in technique that can go from subtle to extreme.

Once a new technique is decided upon it is a matter of the Coach and the Team getting down to business and putting it into practice through purposeful training. This will all take time as new physical and mental pathways are developed by the paddlers. Some paddlers will adapt to the changes quicker than others. Often video footage will help a paddler see what they are doing compared to what they think they are doing. At times the changes are made quickly and other times the changes seem to take forever to come through. One way or another, the changes are made and the team is paddling with tne new technique. What you see at Regatta's is proof of this fact.

Paddling is often about a feeling, be it the connection with the water or about what you feel and believe when you paddle. I have always believed that if you can think, visualise and feel it, then you are well on the way to making the changes needed to adapt to a new paddling technique (or for that matter, anything you set your heart to).

So for those working through change, make of it what you can from the above story. I think there are a few nice metaphors there to work with.

The keywords being: Learning, Training, Mimicry and Believing.

Senior Mixed 500m Final - IDBF Dragon Boat World Champs - 200m to go - "The Break" - "It was insane, but it worked" - It's not about the Paddle – Prague/Racice - Day 4 (Sat 29 Aug 2009)

On Living - The Story of Telling (Wed 13 Aug 2014)

I have battles in my life ("but I'm better for it") - Alexandria (Feb 2014)
The Story of Telling (*) writes On Life (*):

The irony of the human condition is that we fear (*) being invisible (*) and yet we fear being seen. We want to feel (*) like what we do matters (*), that our time here stood for something. And yet we know that when we stick our necks out we are opening (*) ourselves up to criticism (*) and failure (*). [..]

What Will Your Verse Be?

via What Will Your Verse Be? (*) by The Story of Telling (*).

Mine is already done (*), but I hope (*) I will be lucky enough to add to it.

Sydney Life 2006 (3-22 Oct 2006)

Cover - Sydney Life 2006 - Art and About 2006 (picasa)
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Sydney Life

Every year, around 500,000 people come to see Sydney Life in Hyde Park North. The resonance of these images, and their evocative setting in one of Sydney’s most popular public spaces, provides a unique representation of the city’s amazing variety.

From 800 images submitted by 410 photographers, 26 artworks have been chosen by a panel of judges. Again, there is a good mix of established and emerging artists from across the spectrum of the art form, including press, documentary and art photography.

The emphasis this year seems to be upon Sydneysiders enjoying their leisure time. Portraits of people flourishing in their domestic environments such as Joanne Saad’s ‘Karaoke Friends, 2006’, Danny Huynh’s man with his chook in Fairfield, or Martin Mischkulnig’s ‘Ingrid Hoffman with her collection of ‘50s and ‘60s aprons,’ capture worlds hidden behind the suburban fence. Just outside, Adrian Brown’s ‘Cul de Sac 7’ argues that housing estate dead-ends are the place where the next generation of Socceroos are building their skills.

Some photos dwell on the diversity of the city’s subcultures, while others encompass broader cultural activities such as the outdoor cinema and surfing, or capture the beauty of Sydney’s iconic parks. This year’s images are mainly celebratory in tone, however, there are some which speak to alienation, both human and from the natural environment, such as Beverley Veasey’s wonderful ‘Goat, Capra Hircus, at the Royal Easter Show.’

I would like to thank the City of Sydney and AMP Capital Investors for their support of the project. Thank you, too, to my fellow judges. Finally and foremost, thank you to the photographers for capturing with such poignancy the many possibilities for life this wonderful city offers.

The Sydney Life Prize, valued at $10,000, is comprised of $5,000 in cash from the City of Sydney plus a $5,000 investment in the AMP Capital Investors Sustainable Future Australian Share Fund. It will be awarded for the most outstanding work in the exhibition, as decided by a distinguished panel of judges: Sandy Edwards (Curator, Sydney Life and Curator, Stills Gallery), Alan Davies (Curator of Photographs, State Library of NSW) and Bec Dean (Curator, Australian Centre for Photography).

Sandy Edwards, Curator Sydney Life

The diversity of Sydney’s communities is magnificently captured in these photographs mounted on large-scalecanvas against the leafy backdrop of Hyde Park North. Take a wander down the central boulevard and admire these stellar images.

FREE SYDNEY LIFE
CURATORIAL TOURS
Wednesday 18 October and
Saturday 21 October at 1pm
Bookings Essential:
Telephone (02) 9246 7626

Page 4 - Sydney Life 2006 - Art and About 2006 (picasa)
Page 5 - Sydney Life 2006 - Art and About 2006 (picasa)
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The Photographers and their Photos

Gregory McBean - The Baron and Baroness de Boyd (a.k.a. John and Jeanette)
Martin Mischkulnig - Ingrid Hanging her Aprons
Adrian Brown - Cul-de-sac 7
Jonathan Reid - Sydney Park – St Peters
Marco Bok - Mitch and Kay, Hyde Park, 1 July 2006
Kelly Mitchell - Skaters – Martin Place
Tamara Dean - Harmony Day
Beverley Veasey - Study of a Goat, Capra Hircus, at the Royal Easter Show
Steven Siewert - Not a Dry Eye in the House
Quentin Jones - Surfing from Space
Peter Solness - Dharawal Engravings and Sydney Skyline
Martin Mischkulnig - Guan Wei in Boat
Vera Hong - Rebecca
Steve Christo - Fire in his Belly.
Karl Sharp - “Revolution” (soccer fans)
Moshe Rosenzveig - Tango
Anne Zahalka - Chinese New Year Parade
Paul Blackmore - Backyard Wedding
Sasha Ruth Woolley - Natasha, 2005 (From the Limelight Series)
Danny Huynh - Culture and Cultivation
Steven Lojewski - Without a Trace, Enmore, 2006
Belinda Allen - Sacred Site – Angophoras, Royal National Park
Jeff Darmanin - Autumn in Sydney, 2006
Annette Willis - Niki and José 2006
Lee Valentine - Red

At www.archive.org - Sydney Life 2006, Art and About 2006
At Google: Programme (pdf as html)

More On Trying - Iain S. Thomas (Tue 02 Jun 2015)

Whosus - Pacific Dragons Single Craft Day - Barrrenjoey Headland / Palm Beach (Sat 06 Jun 2015)

Iain S. Thomas on Trying:

I've been told I'm special in so many different ways my entire life, why should I have to try, and continue to educate myself, try, and maintain a healthy marriage, try, and exercise, try, and work to accomplish something -- anything -- great?

This is one of the hardest illusions in the world to break. I am not special and I need to try if I want anything. There is nothing sad about that. The only happiness, joy and beauty that isn't temporary, that will nourish your soul and make you feel human and connected to yourself, is found in realizing that you actually have to try.

The Exquisite Beauty of Actually Trying by Iain S. Thomas.

A few ways to increase your connection to your photography - Kirk Tuck (Thu 23 Feb 2012)

A3 Prints - New York - Aug 2011
Kirk Tuck (*) writes:

To do what you like in your work, separate from the buzz. [..]

• slow down [..] If you slow down and concentrate on the kinds of images that bring you real joy you'll find a tighter bond with your own work.


• Stop looking at all the sharing sites - When you turn off the outside influences and sit quietly with your own thoughts about art and photography you begin to understand the way you like to see and share art. That's valuable. Everything else is unconscious imitation.


• Do a project - Consistency of vision and subject are worthwhile goals for all artists. Set yourself to the task of creating a body of consistent work. Choose a subject that you love and explore it in depth. Ignore everything else.


• When you choose to do a project have a a goal - Wouldn't it be great if it changed some lives? But no matter where it ends up I will have met interesting people who've taken charge of their own lives and excelled. What fun role models. And the art will be my souvenir of my time spent with them. The prints will be part of the sharing.


• Start thinking beyond the screen - [..] When you slow down and do your art try to go through the whole process of bringing an image to life before you rush out the door to fill up more memory cards and hard drives.


• Really explore the images in front of you. Edit them down. Make them perfect and then print them large [..] Print them till you love them. And learn from the process of presentation. Learn what you like to see, big. The art becomes both portable and present when you pull it off the screen and onto paper. Be sure to go through the whole process so you understand in your gut what you've really created. It will slow you down [..] and focus it on doing work that makes you smile. You are the first audience.


• Finally, forget the online critiques - Find people in your own town, city, region whose work you admire and approach them about forming a sharing circle. Just like a writer's group.

Having a project will move you to take chances. [..] You'll need to discipline yourself to do the [..] And you'll need to learn how to finish.

Having a goal for your work gives it extra meaning.

Sharing the work with live people standing in front of you builds real confidence in the work. Having real critiques is painful but helps engender real growth. Helping real, human, non-virtual friends succeed with their own art is part of a rewarding virtuous circle. Embrace it.

From A few ways to increase your connection to your photography (*) by Kirk Tuck (*) - Thu 23 Feb 2012.

The Subject - The Minds Eye by Henri Cartier-Bresson (Extract)

There is subject in all that takes place in the world, as well as in our personal universe. We cannot negate subject. It is everywhere. So we must be lucid toward what is going on in the world, and honest about what we feel.

Subject does not consists of a collection of facts, for facts in themselves offer little interest. Through facts, however, we can reach an understanding of the laws that govern them, and be better able to select the essential ones which communicate reality.

In photography, the smallest thing can be a great subject. The little, human detail can become a leitmotiv. We see and show the world around us, but it is an event itself which provokes the organic rhythm of forms.

There are thousands of ways to distill the essence of something that captivates us, let’s not catalogue them. We will, instead, leave it in all its freshness...

The Subject in The Minds Eye by Henri Cartier-Bresson. Originally from The Decisive Moment (full text here).

Intersection - Airport Tarmac / Lyon - Mon 7 Sep 2009 (picasa)

To believe in the Good - Isaac Asimov / Brain Pickings (Thu 03 Jul 2014)

overexposed (*) - Barcelona (Wed 07 Aug 2013)
Isaac Asimov (*) writes:

To me it seems to be important to believe (*) people to be good (*) even if they tend to be bad (*), because your own joy (*) and happiness (*) in life (*) is increased that way, and the pleasures (*) of the belief (*) outweigh the occasional disappointments (*). To be a cynic about people works just the other way around and makes you incapable about enjoying the good things.

via Isaac Asimov on Optimism vs. Cynicism about the Human Spirit (*) by Brain Pickings (*).

On Sport - Simon Barnes (Mon 28 Jul 2014)

Skaters - Hyde Park / London (Sun 18 Aug 2013)
Simon Barnes (*) writes in Fun and Games Serve Meaningful Purpose (*) on Sport (*):

Sport is one of the ways we can fulfill our human, our animal need for others; to do things together, to share things. [..]

Sport moves on from this to be many other things, sometimes complex and disturbing, sometimes beautiful, sublime, inspiring, humbling, and joyous.

Sport is many things and sometimes feels like all things.

But sport starts with sharing.

The sporting impulse begins in our dread of isolation, in our soul-deep need for contact.

via Why Sport? (*) by Patrick McHugh (*).

On Being Human - Edward Burtynsky / The Atlantic (Tue 19 Jun 2012)

Esso - Queens Quay / Toronto (Tue 30 Aug 2011)
Toronto based Edward Burtynsky (*) says in The Art of Industry: The Making and Meaning of Edward Burtynsky's New Exhibit, 'Oil' (*):

Humans can really reveal themselves through what they choose to see as the most important or meaningful detail in an image.

Have a couple of his books and have always liked the way he sees (*) the World.

On Adaptability - Edmund Capon - Spectrum / Andrew Taylor (Sat 07 Aug 2013)

Portrait Wall - Barcelona (Tue 06 Aug 2013)
Edmund Capon (*) writes On Adaptability (*):

I think the human animal is amazingly adaptable (*).

via Still serving the people (*) by Andrew Taylor (*).