photograph-y: Wouter Van de Voorde http://woutervandevoorde.com View full size

photograph-y:

Wouter Van de Voorde

http://woutervandevoorde.com

smalltowninertia:

New story now live @ Small Town Inertia *Preview pages

Market Town : Living with Epilepsy : Simon : Brave New World

The last few months have been a tumultuous time for Simon. His seizures, both Nocturnal and Atonic grew in  frequency and severity resulting in numerous injuries.

As a result his visits and stays in hospital increased. His medication was constantly adjusted to try to tackle a situation spiralling ever out of control. Through it all Simon was stoic and strong, refusing to let his epilepsy beat him.

During one of Simon’s visits with his local GP his Doctor informed him of a procedure called V.N.S Vegas Nerve Stimulation or Vegas Nerve Therapy and proposed the option to have a small device implanted within his body that could reduce, even cease his seizures entirely.

© Thorir VidarView full size

© Thorir Vidar

… there’s no such thing as Flickr Pro, because today, with cameras as pervasive as they are, there is no such thing really as professional photographers, when there’s everything is professional photographers. Certainly there is varying levels of skills, but we didn’t want to have a Flickr Pro anymore, we wanted everyone to have professional quality photos, space, and sharing.
— Marissa Mayer, Yahoo Event, May 2013 (via fractalized)
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urbanautica: DENMARK IN TRANSITION

urbanautica:

BY MARTIN PETERSEN

From here, where we stand

we can look around us - to all sides

It moves when we walk

it changes in all times

These lines are taken from one of the most iconic songs in the history of Danish music. Released back in 1971 when everything looked different, “From here,…

reykjavik-area:

A Reykjavik Diary / Photos Pascal Fellonneau

http://pascal.fellonneau.free.fr/

mikara: (por Missy Prince) View full size

mikara:

(por Missy Prince)

the art market had become the art world. It had begun to dictate the fashions of what is good and what is hot, and to promote the idea that there wasn’t any difference between the two. And that change in the way art is valued felt so arbitrary— and yet final. Critics and curators might rail against the system, and artists might continue to make important new art, but the significance of art was now going to be measured by its performance in the market, and any artists who didn’t believe that were deluding themselves. More and more you saw artists— some cynically, some without even realizing it— conform to the insidious dictates of what sells. You began to see more and more art being made that was clever, obsessively well crafted, often a genuine spectacle, and completely devoid of emotional content.
— Eric Fischl (and Michael Stone, Michael), from Bad Boy: My Life On and Off the Canvas (Kindle Locations 3949-3955). (via conscientious)
Leveraging the web to make such content available for purchase requires creative producers to shift their starting position. Too often I’ve heard people blame the plight of creative industries on the alleged moral failings of potential consumers or fans. It’s time to move beyond the claim that most people using the web are feckless thieves just waiting to steal content. If you make quality content available in affordable, easily accessed formats, and you make it easy for people to find you and pay for that content, then you can leverage the web to find those who will part with their hard-earned cash for your work. That responsibility lies with the producers not the consumers.
— Leveraging the web: how people are willing to pay for content | David Campbell (via photographsonthebrain)
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thefearsome: FIRE WALK WITH ME View full size

thefearsome:

FIRE WALK WITH ME