This project is under construction and as such a workshop: For the whole year I try to post a picture a day combined with a title. Starting with the latest on top. In February I decided to choose a topic to go with every month. I started with RED, then HUMAN, in April SHADOW and in May WATER, in June the topic became CLOUDS. In July the new topic turned out to be: REFLECTION/MIRROR. Due to to the holidays I picked ON THE ROAD as a topic for the month of August. A theme provides me a beautiful balance of focus and space to play. Feel free to visit every now and then.
365/232 – For Baudelaire photography was painting’s “mortal enemy”
365/231 – With photography eclecticism has no limits
365/230 – Awaiting the proper moment
365/229 – Life is not about significant details
365/228 – Extracting analogies from the most dissimilar things
365/227 – Viewing reality as an endless set of situations
365/226 – An image-world would replace the real one continue to echo
365/225 – A photograph is a trace like a footprint or a death mask
365/224 – The quiddity of an object
365/223 – Transforming the present into the past and the past into pastness
365/222 – Taking the temperature of the present
365/221 – The meaning is the use for each photograph
365/220 – Each photograph is only a fragment
365/219 – Aesthetic double standards
365/218 – The camera can be lenient, but is also expert at being cruel
365/216 – Certain conventions of beauty get used up while others remain
365/215 – A subjective habit
365/214 – Reality has always been interpreted through the reports given by images
365/213 – Participation and alienation in our own lives and those of others
365/212 – Photography, which has so many narcissistic uses, is also a powerful instrument for depersonalizing our relation to the world
365/211 – The camera makes exotic things near, intimate
365/210 – The struggle between beautification and truth-telling
365/209 – A fake photograph falsifies reality
365/208 – Most photographs, of course, are not candid
365/207 – People want the idealized image
365/206 – Likely to find sunsets corny
365/205 – Photographs, rather than the world, have become the standard of the beautiful
365/204 – Many have discovered beauty
365/203 – Seeing for seeing’s sake
365/202 – The photographer—and the consumer of photographs—follows in the footsteps of the ragpicker
365/201 – An affirmation of the subject’s thereness
365/200 – Distinguishing the innovative from the retrograde
365/199 – There is probably no subject that cannot be beautified
365/198 – As if its perspective is universal
365/197 – Photographs make a compassionate response feel irrelevant
365/196 – It becomes arbitrary to treat some moments in life as important and most as trivial
365/195 – Steadily drifted away from lyrical subjects
365/194 – The intended and the unintentional
365/193 – There is the surface, now feel what is beyond it
365/192 – Camera’s rendering of reality must always hide more than it discloses
365/191 – The camera makes reality atomic, manageable and opaque
365/190 – Anything can be separated, can be made discontinuous
365/189 – Claim to another reality
365/188 – The lover’s photograph hidden in a married woman’s wallet
365/187 – Incitements to reverie
365/186 – A neat slice of time
365/185 – All photographs are memento mori
365/184 – When we are nostalgic, we take pictures
365/183 – Cameras are fantasy-machines whose use is addictive
365/182 – A kind of immortality
365/181 – Being in complicity with whatever makes a subject interesting
365/180 – Stop, take a photograph, and move on
365/179 – Evidence that fun was had
365/178 – Photography helps people taking possession of space in which they are insecure
365/177 – An imaginary possession of a past that is unreal
365/176 – Even when photographers are most concerned with mirroring reality, they are still haunted by tacit imperatives of taste and conscience
365/175 – Putting oneself into a certain relation to the world that feels like knowledge—and, therefore, like power
365/174 – Experience captured
365/173 – To show something “out there”
365/172 – To collect photographs is to collect the world
365/171 – A grammar of seeing
365/170 – A viewer can approach a photograph freely with no expectations of discovering a meaning
365/169 – Both a pseudo-presence and a token of absence
365/168 – To remember is – more and more – not to recall a story but calling up a picture
365/167 – A chronic voyeuristic relation
365/166 – Images may replace direct experience and limit reality
365/165 – Just about everything has been photographed
365/164 – Re-establishing the rift between the “great theorization” and the “empirical research”
365/163 – The paradox of freedom
365/162 – Not only communicating but also creating an identity
365/161 – We don’t invent roles, they are invented for us
365/160 – I tore myself away from the safe comfort of certainties
365/159 -Women can choose to elevate themselves
365/158 – Women are as capable of choice as men
365/157 – Both deep structures and surface structures
365/156 – Randomness is the lack of pattern or predictability in events
365/155 – An eye is only a good eye in so much as it can see because its proper function is sight
365/154 – Actuality is the fulfilment of the end of the potentiality
365/153 – Locomotion means a change in space
365/152 – Alteration means a change in quality
365/150 – Inventing impossible and perilous worlds of the imagination
365/149 – Denouncing customary spaces within which human life is portioned off, as being even more illusionary
365/148 – Words, things and images are drawn together
365/147 – To form an unthinkable space
365/146 – Customary ways of dividing up the world in order to understand it
365/145 – An overall approach
365/144 – Pleasures and predicaments of contemporary existence
365/143 The artist is an inventor of places
365/142 – The artist is an inventor of places
365/141 – The freedom of the subject in relation to others
365/140 – Unearthed energies seem to explode into the present as the timeless eruptions of freedom itself
365/139 – How things were given to be seen
365/138 – Transform modern life itself into a work of art
365/137 – What is this singular existence that comes to light in what is said
365/136 – Restore a freedom to seeing, thinking, and feeling
365/135 – The disruptive force of art
365/134 – The relation between art and knowledge
365/133 – What’s the relation between resemblance and representation
365/132 – Symbolizing certain beliefs or ideas without representing them
365/131- Form follows function
365/130 – Function implies intent
365/129 – Good art does not go out of style
365/128 – Art helps to see what is there but not easily perceived
365/127 – Art may serve the personal functions of control
365/126 – It all adds up to innumerable variables when trying to figure out
365/125 – Perhaps the artist was trying to provide an aesthetic experience, both for self and viewers
365/124 – Misunderstanding is never a happy place to visit
365/123 – You, the viewer, are the other half
365/122 – Trying to classify function depends on context
365/121 – Highlighting the awkwardness
365/120 – Imagination is driven more by what it cannot see than by what it can
365/119 – One must follow intricate turns of thought, and unravel
365/118 – Modernism saw the rise of new forms
365/117 – A complex heterogeneity that functions both as its parts and as a whole
365/116 – Whatever the truth of this hypothesis, it blurs a useful distinction
365/115 – Alienation causes self-pity, vulnerability, violence, and deep introspection & intellectual independence
365/114 – Loneliness is the poverty of self
365/113 – A pervasive phenomenon like alienation should leave such an indelible impact upon the contemporary
365/112 – To labour with the nameless burden of perception
365/111 – Contrasts, strong when we compare extreme cases, fade from our consciousness in the actual use
365/110 – We dye the world of our own colour
365/109 – Don’t worry if nothing sounds or feels right
365/108 – Transfers our feelings to a greater object
365/107 – We destroy conventions only to construct ideals
365/106 – The material of experience, seizing hold of the reality of sensation and fancy beneath the surface of conventional ideas
365/105 – Playing with and testing, among other things, the principle of euphony itself
365/104 – Sensible things have been said on the question
365/103 – Truer to the ultimate possibilities of the soul
365/102 – To accomplish a mystical disintegration is not the function of any art
365/101 – The stuff of language is words
365/100 – Forming connections previously not perceived
365/99 – Difference between poetry & verse is usually the difference between substance &form
365/98 – Imparting the sense that we are on familiar ground
365/97 – Plenty of mystery remains
365/96 – To obfuscate
365/95 – An empirical phenomenon, not an ideal concept
365/94 – Only someone with a crassly utilitarian view of poetry could talk of its “function”
365/93 – The distinction between knowing and remembering
365/92 – Validity means the system’s rules of proof never allow a false inference from true premises
365/91 – Consistency means no theorem of the system contradicts another
365/90 – I would rather go mad than feel pleasure
365/89 – How do we know that we know?
365/88 – A moral cause of action
365/87 – Modern society means setting the world in motion
365/86 – On expectation
365/85 – Our life has no end in the way in which our visual field has no limits
365/84 – The world is everything that is the case
365/83 – Putative knowledge includes propositional knowledge and
365/82 – What is most real?
365/81 – Is it possible to know anything and prove it?
365/80 – Concerning matters such as existence
365/79 – Doubt as far as possible all things
365/78 – Being and non-being are the same
365/77 – Freedom & ought
365/76 – Desire to contribute
365/75 – Open up to the world
365/73 – Perpetual & unsustainable acceleration
365/72 – Shrinking of the present
365/71 – Thrownness
365/70 – Average everydayness
365/69 – The Will to Power as Knowledge
365/68 – Fusion of horizons
365/67 – Without genuine relation
365/66 – Cause & effect of a broken connection to the world
365/65 – Not only about literature
365/64 – If acceleration is a problem
365/63 – The place of the human
365/62 – Subjective vs. objective
365/61 – The centre does not hold
365/60 – Life is not about who you are but who you want to be
365/59 – Expand or diminish our sense of possible
365/58 – Ambiguity
365/57 – The importance of rhythm
365/56 – Diversity of purposes
365/55 – Many details and the great picture
365/54 – Combine what you want to do to what you are supposed to do
365/53 – Shift of audiences
365/52 – Rational judgement
365/51 – Understand experiences of others
365/50 – I believe in literature
365/49 – Take a step back
365/48 – Investigate the form & function
365/47 – How to live your life together with others
365/46 – Perspective awareness
365/45 – Narrative representation takes us to the individual
365/44 – Metaphor
365/43 – Change your perspective
365/42 – Visual Space
365/41 – Narratives shape our values
365/40 – Narrative complexity
365/39 – How to interpret
365/38 – Ordinay perception
365/37 – Sense of the impossible
365/36 – Every in-between relates and separates one
365/35 – Art is a lack of certainty
365/34 – Bring your balloon
365/33 – Model without morality
365/32 – What is it you prefer thinking or narrating
365/31 – So many thoughts
365/30 – A smile is a curve that sets everything straight – Phyllis Diller
365/29 – Making plans
365/28 – Rocking the sun in one’s elbow
365/27 – Nature behind a fence
365/26 – Window to the world
365/25 – Everybody needs a little bit of red always
365/24 – Locker room portrait
365/23 – Sundial, frozen
365/22 – Night play
365/21 – (Almost) infinite winter landscape
2019/20 – How cold feel deer in winter
365/19 – Warm-hearted tones
365/18 – Early morning market
365/17 – With all due caution
365/16 – Road to Germany
365/15 – Little red car behind trees
365/14 – My single-minded aim is to give existence to fantasy – Claes Oldenburg
365/13 – Sunday rest in Lower Saxony
365/12 – Pavement flux
365/11 – Park theatre
365/10 – Night theatre
365/9 – What is real and how do you know
365/8 Be yourself, everyone else is already taken ― Oscar Wilde
Dorothee Kellner 