#Inke Arns

[bugeater-420]

The Monumentality of the Everyday by Jakup Ferri / Installation / from the Kosovo Pavilion at the 59th Venice Biennale | more here and here

#venice biennale #2022 venice biennale #jakup ferri #embroidery #textile art #installation art #mixed media #fibers #gorjus 🤩!!! #inke arns #so much beauty everywhere you look!!

[feralchaton]

"It is completely possible but, when considered with our conventional calculations, extremely unlikely. Philosophically, there is a chasm between the impossible and the fantastically unlikely...Every now and then, the unimaginable happens to us. " - Arne Næss

#expect the unexpected #miracles #impossible #possible #quotes #literature quotes #walking one step at a time #erling kagge #quoted #arne næss #life quotes #unimaginable #happens each and every day #trust #spilled thoughts #spilled ink

[lovearne]

IM SO HAPPY WITH MY TATTTOOOKKO AAHHAHHAHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH

#arne got inked

[pott-ato]

｡*ﾟ+ 🌸² *.✧ . #ilustration #ilustracion #gayart #ink #gayillustration #arnes #homoerotic #flores #demons #cuernitos #horns #tinta https://www.instagram.com/p/ChLRcpCOtWT/?igshid=NGJjMDIxMWI=

#ilustration #ilustracion #gayart #ink #gayillustration #arnes #homoerotic #flores #demons #cuernitos #horns #tinta

[pwlanier]

PENNSYLVANIA FOLK ART FRAKTUR DRAWING / REWARD OF MERIT, watercolor and ink on paper, featuring a colorful depiction of a whimsical bird perched on a branch, inscribed "Marten [K?]arn 1856" to verso. Unframed. Circa 1856.

Jeffrey Evans

#fraktur #american folk art

[kwebtv]

John Aylward (November 7, 1946 – May 16, 2022) Film and television actor.

He was best known for playing the former DNC chairman Barry Goodwin on the NBC television series The West Wing and for playing Dr. Donald Anspaugh on the NBC television series ER. He also supplied his voice for Dr. Arne Magnusson in Half-Life 2: Episode Two.  (Wikipedia)

Other TV Series he appeared in were:

Northern Exposure

3rd Rock from the Sun

Ink

Grace Under Fire

The Practice

From the Earth to the Moon

The Others

Secret Agent Man

The Fugitive

Family Law

Alias

Diagnosis Murder

Ally McBeal

Dharma & Greg

The X-Files

The Agency

Judging Amy

Good Morning, Miami

Nip/Tuck

Carnivàle

Surface

Law & Order

Boston Legal

CSI: Crime Scene Investigation

Mad Men

Fairly Legal

Impastor

Nobodies

Yellowstone

Briarpatch

#John Aylward #TV #Obit #Obituary #O2022 #The West Wing #ER

[publicdomainbooks]

CHAPTER 2

THE MYSTERIOUS PARCHMENT

‘"I declare," cried my uncle, striking the table fiercely with his fist, "I declare to you it is Runic—and contains some wonderful secret, which I must get at, at any price."

I was about to reply when he stopped me.

"Sit down," he said, quite fiercely, "and write to my dictation."

I obeyed.

"I will substitute," he said, "a letter of our alphabet for that of the Runic: we will then see what that will produce. Now, begin and make no mistakes."

The dictation commenced with the following incomprehensible result:

mm.rnlls esruel seecJde sgtssmf unteief niedrke kt,samn atrateS Saodrrn emtnaeI nuaect  rrilSa Atvaar  .nscrc  ieaabs ccdrmi  eeutul  frantu dt,iac  oseibo  KediiY

Scarcely giving me time to finish, my uncle snatched the document from my hands and examined it with the most rapt and deep attention.

"I should like to know what it means," he said, after a long period.

I certainly could not tell him, nor did he expect me to—his conversation being uniformly answered by himself.

"I declare it puts me in mind of a cryptograph," he cried, "unless, indeed, the letters have been written without any real meaning; and yet why take so much trouble? Who knows but I may be on the verge of some great discovery?"

My candid opinion was that it was all rubbish! But this opinion I kept carefully to myself, as my uncle's choler was not pleasant to bear. All this time he was comparing the book with the parchment.

"The manuscript volume and the smaller document are written in different hands," he said, "the cryptograph is of much later date than the book; there is an undoubted proof of the correctness of my surmise. [An irrefragable proof I took it to be.] The first letter is a double M, which was only added to the Icelandic language in the twelfth century—this makes the parchment two hundred years posterior to the volume."

The circumstances appeared very probable and very logical, but it was all surmise to me.

"To me it appears probable that this sentence was written by some owner of the book. Now who was the owner, is the next important question. Perhaps by great good luck it may be written somewhere in the volume."

With these words Professor Hardwigg took off his spectacles, and, taking a powerful magnifying glass, examined the book carefully.

On the fly leaf was what appeared to be a blot of ink, but on examination proved to be a line of writing almost effaced by time. This was what he sought; and, after some considerable time, he made out these letters:

"Arne Saknussemm!" he cried in a joyous and triumphant tone, "that is not only an Icelandic name, but of a learned professor of the sixteenth century, a celebrated alchemist."

I bowed as a sign of respect.

"These alchemists," he continued, "Avicenna, Bacon, Lully, Paracelsus, were the true, the only learned men of the day. They made surprising discoveries. May not this Saknussemm, nephew mine, have hidden on this bit of parchment some astounding invention? I believe the cryptograph to have a profound meaning—which I must make out."

My uncle walked about the room in a state of excitement almost impossible to describe.

"It may be so, sir," I timidly observed, "but why conceal it from posterity, if it be a useful, a worthy discovery?"

"Why—how should I know? Did not Galileo make a secret of his discoveries in connection with Saturn? But we shall see. Until I discover the meaning of this sentence I will neither eat nor sleep."

"My dear uncle—" I began.

"Nor you neither," he added.

It was lucky I had taken double allowance that day.

"In the first place," he continued, "there must be a clue to the meaning. If we could find that, the rest would be easy enough."

I began seriously to reflect. The prospect of going without food and sleep was not a promising one, so I determined to do my best to solve the mystery. My uncle, meanwhile, went on with his soliloquy.

"The way to discover it is easy enough. In this document there are one hundred and thirty-two letters, giving seventy-nine consonants to fifty-three vowels. This is about the proportion found in most southern languages, the idioms of the north being much more rich in consonants. We may confidently predict, therefore, that we have to deal with a southern dialect."

Nothing could be more logical.

"Now," said Professor Hardwigg, "to trace the particular language."

"As Shakespeare says, 'that is the question,"' was my rather satirical reply.

"This man Saknussemm," he continued, "was a very learned man: now as he did not write in the language of his birthplace, he probably, like most learned men of the sixteenth century, wrote in Latin. If, however, I prove wrong in this guess, we must try Spanish, French, Italian, Greek, and even Hebrew. My own opinion, though, is decidedly in favor of Latin."

This proposition startled me. Latin was my favorite study, and it seemed sacrilege to believe this gibberish to belong to the country of Virgil.

"Barbarous Latin, in all probability," continued my uncle, "but still Latin."

"Very probably," I replied, not to contradict him.

"Let us see into the matter," continued my uncle; "here you see we have a series of one hundred and thirty-two letters, apparently thrown pell-mell upon paper, without method or organization. There are words which are composed wholly of consonants, such as mm.rnlls, others which are nearly all vowels, the fifth, for instance, which is unteief, and one of the last oseibo. This appears an extraordinary combination. Probably we shall find that the phrase is arranged according to some mathematical plan. No doubt a certain sentence has been written out and then jumbled up—some plan to which some figure is the clue. Now, Harry, to show your English wit—what is that figure?"

I could give him no hint. My thoughts were indeed far away. While he was speaking I had caught sight of the portrait of my cousin Gretchen, and was wondering when she would return.

We were affianced, and loved one another very sincerely. But my uncle, who never thought even of such sublunary matters, knew nothing of this. Without noticing my abstraction, the Professor began reading the puzzling cryptograph all sorts of ways, according to some theory of his own. Presently, rousing my wandering attention, he dictated one precious attempt to me.

I mildly handed it over to him. It read as follows:

mmessunkaSenrA.icefdoK.segnittamurtn ecertserrette,rotaivsadua,ednecsedsadne lacartniiilrJsiratracSarbmutabiledmek meretarcsilucoYsleffenSnI.

I could scarcely keep from laughing, while my uncle, on the contrary, got in a towering passion, struck the table with his fist, darted out of the room, out of the house, and then taking to his heels was presently lost to sight.

#A Journey to the Centre of the Earth

[talbottoresnick]

Exhibition Review: "Echoes" by Peter Hujar

Lijing Dai 

“I wanted to be discussed in hushed tones. When people talk about me, I want them to be whispering.” —Peter Hujar 

‘Echoes’, the exhibition of photographs by the renowned American artist and downtown legend Peter Hujar, are currently on display at 125 Newbury Gallery in New York City until Oct 28, 2023. 125 Newbury is a project space helmed by Arne Glimcher, Founder and Chairman of Pace Gallery. It is located at 395 Broadway in Manhattan’s Tribeca neighborhood. This exhibition, which is being put on in association with the Peter Hujar Foundation and Archive, contrasts the peculiar classicism of Hujar's treatment of the body with images of the social and architectural spaces of yearning and belonging that grew in Manhattan's West Side piers in the 1970s and 1980s. It consists of approximately 40 photographs spanning 1966 to 1985 in the displayed exhibition. Most of the displayed works are 14 ¾ in.x 14 ¾ in. At the entrance, every visitor is welcomed to take a presentation sheet which is decorated in a newspaper style. It presents every single photograph in the exhibition. The exhibition is organized in two modes of Hujar’s practices: From the left side to the middle, it presents the photographs he made of his close friends, lovers and acquaintances who posed for him inside his East Village loft on 12th street; From the middle to the right side, it displays the images he took while cruising the dilapidated Christopher Street piers on Manhattan’s far West Side. In addition, the exhibition includes the photographs he took in the Capuchin catacombs of Palermo in 1963 on a trip taken with his boyfriend at that time, the artist Paul Thek. 

The one that first appealed to me was the Daniel Schook Sucking Toe (Close-up),1981. It is presented in the pigmented ink print in the square size of 14 ¾ .x 14 ¾ in. For the technical choice, filling the frame is applied in this work. The subject, Daniel Schook, is positioned right at the center of the image, looking directly at Hujar's camera and sucking his left thumb. I can feel the strong and deep attraction between Hujar and his subject. The framing technique successfully captures the facial details and emphasizes Schook’s eyes. When I stood in front of the image for a while, the stare reflected a sense of real intimacy and then vulnerability to me. I believe that is because Hujar knows his subjects very well and then their true natures can be reflected under his camera. Walking along the exhibition, the most touching aspect of Peter Hujar's photography, I think, is his sensitivity in the context of black-and-white images. The contrast between two colors has an incredible tenderness, yet introspective power in his images. The other image that captured my attention is the Christopher Street Pier #2 (Crossed Legs), 1976. Same as the previous image I mentioned, It is also framed in the pigmented ink print with the same square size. With a hazy detail of a cruise in the background, this work captures a man sunbathing on the Hudson River wearing denim shorts and baring his legs unashamedly. His

voyeuristic gaze through the mysterious triangle between the man’s bare legs powerfully suggests the place where he lives, New York City, a utopia for public intimacy and his strong pleasure for exploring the gay liberation movement of the 60s and 80s. In this way, compared to the direct eye contact with the subject, the contrast of different perspectives is quite interesting. 

In a nutshell, I was impressed with his sensibility using his gay perspective to control the expression of emotions in his works. For Peter Hujar, I think, his expression becomes resistance. For the execution of this exhibition, I think, as an audience, it works pretty well. The overall decoration is just kraft paper applied on the background with no extra. The power is presented in such a perfect way, softly leading his audience into his silent world. Each image is placed in a certain distance that leaves some space for the audience to think,connect and then remember. His compelling treatment of being candor and rational to his subject leads the audience to his gay perspective. The emotions he conveys are not unenthusiastic, but instead of the overwhelming expansion of emotions, it is trickling in a silent way. The presentation of Hujar's unique perspectives of his identities made the exhibition a great social value and practice. The installation of the exhibition is wonderful. It creates such a calm and still space for the audience to feel a sudden lag in the air within the surrounding chaotic streets. 

Overall Installation of ‘Echoes’ by 125 Newbury Gallery

Works Cited 

Peter Hujar: Echoes - - Exhibitions - 125 Newbury Gallery. (n.d.). https://www.125newbury.com/exhibitions/peter-hujar-echoes#tab:slideshow

[marvelman901]

Spectacular Spider-Man Super Special 1 (1995) . Planet of the Symbiotes part 4 . Written by David Michelinie Penciled by Darick Robertson Inked by Arne Starr Colors by Tom Smith and Malibu Color Lettered by Bill Oakley and NJQ Edited by Tom Brevoort and Danny Fingeroth Cover by Darick Robertson and Al Vey . The Symbiotes had invaded Earth and Venom, Spider-Man and Scarlet Spider tried to fight them any way they could. Meanwhile, a Symbiote accidentally freed Carnage and Carnage realized that he could ingest other Symbiotes in order to get more powerful... . #spiderman #scarletspider #venom #carnage #darickrobertson #alvey #arnestarr #planetofthesymbiotes #symbiote #aliens #90s (på/i New York City, N.Y.) https://www.instagram.com/p/CiYQMkPsDTO/?igshid=NGJjMDIxMWI=

#spiderman #scarletspider #venom #carnage #darickrobertson #alvey #arnestarr #planetofthesymbiotes #symbiote #aliens #90s

[abstracteddistractions]

Barry Edward Le Va (December 28, 1941 – January 24, 2021)

Bearings Rolled, 1966,

Ink on paper (Sheet from a series of 15 drawings)

Photo: Arne Schultz © Barry Le Va 2011

#art #abstractart #abstract art #barry le va #rip #rip barry le va #rolled #bearing #ink #dot #forms #processart #minimal #arne schultz

[e-stranger]

ostranenie or defamiliarization or estrangement

The concept of ostranenie or defamiliarization or estrangement was first used by Viktor Shklovsky in 1917. In "Art as Technique" he argued for the need to turn something that has become over-familiar, like a cliché in the literary canon, into something revitalized: 

The purpose of art is to impart the sensation of things as they are perceived and not as they are known. The technique of art is to make objects 'unfamiliar', to make forms difficult, to increase the difficulty and length of perception because the process of perception is an aesthetic end in itself and must be prolonged. Art is a way of experiencing the artfulness of an object; the object is not important. — Shklovsky, "Art as Technique", 12 1917 https://en.wikipedia.org/wiki/Viktor_Shklovsky

Inke Arns, curator and artist director of Hartware MedienKunstVerein, used the word estrangement in an interview where she talks about the background of exhibition “Alien Matter”, that she curated. “Alien matter” refers to man-made, and at the same time, radically different, potentially intelligent matter.

IA: ... I think narrative – or: storytelling – and speculative imaginations are powerful tools of art. They allow us to see the world from a different perspective. One that is not necessarily ours, or that is maybe improbable or unthinkable today. The Russian Formalists called this (literary) procedure ‘estrangement’ (this was ten years before Bertolt Brecht with his ‘estrangement effect’). Storytelling and/or speculative imaginations help us grasping things that might be difficult to access from our or from today’s perspective. It’s like an interface into the unknown. Maybe you can compare it to learning a foreign language – it greatly helps you to understand your own native language.

Interview: Looking at Alien Matter with Inke Arns by Chloë Stavrou, published on furtherfield.

#ostranenie #estrangement #defamiliarisation #viktor shklovsky #inke arns #furtherfield #Chloë Stavrou #alien matter

[sysk-ehess]

INKE ARNS

Mercredi 13 mars 2019

La Gaîté Lyrique

3bis Rue Papin, 75003 Paris (Métro Réaumur-Sébastopol et Arts-et-Métiers)

de 14h30 à 16h30

Co-commissaire - avec Marie Lechner - de l’exposition “Computer Grrrls. Histoire·es, genres, technologie·s” à la Gaîté Lyrique, Inke Arns est la directrice, depuis 2005, de Hartware MedienKunstVerein (HMKV) à Dortmund, après avoir travaillé à l’échelle internationale en tant  que curatrice indépendante et théoricienne specialisée dans l’art des media, les cultures du net et l’Europe de l’Est depuis 1993. Inke Arns a vécu à Paris (1982-1986) avant d’étudier, à Berlin et Amsterdam (1988-96), la littérature russe, les cultures de l’Europe de l’Est, les sciences politiques et l’histoire de l’art. Elle a obtenu en 2004 un PhD de l’Université Humboldt à Berlin. Sa thèse portait sur le tournant paradigmatique produit par la façon dont les artistes réfléchissaient les avant-gardes historiques et la  notion d’utopie, dans les projets d’arts visuels et d’art des media des années 1980 et 1990, en (ex)Yougoslavie et en Russie.

Parmi ses expositions : “History Will Repeat Itself“(2007), “Arctic Perspective“» (2010), “The Oil Show” (2011), “Sounds Like Silence (John Cage – 4’33’’ – Silence today / 1912 – 1952 – 2012)” (2012), “His Master’s Voice: On voice and language” (2013), “World of Matter “ (2014), “Jetzt helfe ich mir selbst – Die 100 besten Video-Tutorials aus dem Netz“ (2014), “Evil Clowns“ (2014), “Hito Steyerl: Factory of the Sun “ (2016), “Whistleblowers & Vigilantes“ (2016), “The World without us“ (2016), “Dan Perjovschi: The Hard/er Drawing “ (2016), “alien matter“ (transmediale, 2017), “The Brutalism Appreciation Society“ (2017), “Afro-Tech and the Future of Re-Invention “ (2017), “The Border “ (2017), “The Storming of  the Winter Palace – Forensics of an Image“ (2017), “Computer Grrrls“ (2018) qui ouvre le 14 mars à la Gaîté Lyrique de Paris, et “The Alt-Right Complex“ (2019, à venir).

Les lieux où ces expositions se sont tenues sont: Bauhaus (Dessau), n.b.k. (Berlin), Moderna galerija (Ljubljana), Künstlerhaus Bethanien (Berlin), Karl Ernst Osthaus Museum (Hagen), Museum of Contemporary Art (Belgrade), Centre for Contemporary Arts – CCA (Glasgow), KW Institute for Contemporary Art (Berlin), Videotage (Hong Kong), Museum of Contemporary Art Vojvodina (Novi Sad), Centre for Contemporary Art Zamek Ujazdowski (Warsaw), Centre for Contemporary Art “Znaki Czasu” (Toruń), Contemporary Art Centre CAC (Vilnius), Muzeum Sztuki (Łodz), La Panacée (Montpellier), Jeu de Paume (Paris), Autocenter (Berlin), Moscow Museum of Modern Art (MMOMA) (Moscow), Kunsthal Charlottenborg, (Copenhagen), Haus der Kulturen der Welt (Berlin), Muzeum Sztuki (Lodz).

Autrice de nombreux articles sur l’art des medias et la culture du net, elle a mis en oeuvre de nombreux catalogues et ouvrages  dont:  “Neue Slowenische Kunst (NSK) – an analysis of ther artistic strategies in the context of the 1980s in Yugoslavia“ (2002);    “Net Cultures“ (2002); “Objects in the mirror may be closer than they appear! The Avant-Garde in the Rear-View Mirror“  (2004, publié by Maska en Slovénie en 2006).

L’exposition “Computer Grrrls“ est dédiée à Nathalie Magnan (1956-2016).

[EN] Inke Arns, PhD, director of Hartware MedienKunstVerein (HMKV) in Dortmund. She has worked internationally as an independent curator and theorist specializing in media art, net cultures, and Eastern Europe since 1993. After living in Paris (1982-1986) she studied Russian literature, Eastern European studies, political science, and art history in Berlin and Amsterdam (1988–1996) and in 2004 obtained her PhD from the Humboldt University in Berlin with a thesis focusing on a paradigmatic shift in the way artists reflected the historical avant-garde and the notion of utopia in visual and media art projects of the 1980s and 1990s in (ex-)Yugoslavia and Russia. Since 2005 Inke is the (artistic) director of HMKV.

Arns ‘s exhobitions include “History Will Repeat Itself“ (2007), “Arctic Perspective“» (2010), “The Oil Show” (2011), “Sounds Like Silence (John Cage – 4’33’’ – Silence today / 1912 – 1952 – 2012)” (2012), “His Master’s Voice: On voice and language” (2013), “World of Matter “ (2014), “Jetzt helfe ich mir selbst – Die 100 besten Video-Tutorials aus dem Netz“ (2014), “Evil Clowns“ (2014), “Hito Steyerl: Factory of the Sun “ (2016), “Whistleblowers & Vigilantes“ (2016), “The World without us“ (2016), “Dan Perjovschi: The Hard/er Drawing “ (2016), “alien matter“ (transmediale, 2017), “The Brutalism Appreciation Society“ (2017), “Afro-Tech and the Future of Re-Invention “ (2017), “The Border “ (2017) “The Storming of  the Winter Palace – Forensics of an Image“ (2017),  “Computer Grrrls“ (2018), which is opening at La Gaîté Lyrique, in Paris, and The Alt-Right Complex (2019, upcoming). 

Arns curated exhibitions a.o. at the Bauhaus (Dessau), n.b.k. (Berlin), Moderna galerija (Ljubljana), Künstlerhaus Bethanien (Berlin), Karl Ernst Osthaus Museum (Hagen), Museum of Contemporary Art (Belgrade), Centre for Contemporary Arts – CCA (Glasgow), KW Institute for Contemporary Art (Berlin), Videotage (Hong Kong), Museum of Contemporary Art Vojvodina (Novi Sad), Centre for Contemporary Art Zamek Ujazdowski (Warsaw), Centre for Contemporary Art “Znaki Czasu” (Toruń), Contemporary Art Centre CAC (Vilnius), Muzeum Sztuki (Łodz), La Panacée (Montpellier), Jeu de Paume (Paris), Autocenter (Berlin), Moscow Museum of Modern Art (MMOMA) (Moscow), Kunsthal Charlottenborg, (Copenhagen), Haus der Kulturen der Welt (Berlin), and Muzeum Sztuki (Lodz).

Author of numerous articles on media art and net culture, and editor of exhibition catalogues. Books include “Neue Slowenische Kunst (NSK) – an analysis of ther artistic strategies in the context of the 1980s in Yugoslavia“ (2002), “Net Cultures“ (2002), “Objects in the mirror may be closer than they appear! The Avant-Garde in the Rear-View Mirror“ (2004, published by Maska in Slovenian in 2006).

The exhibition “Computer Grrrls, Histor·y·ies, genders, technologies“, which she co-curates with Marie Lechner for the Gaîté Lyrique is dedicated to Nathalie Magnan (1956-2016).

Programmation et prochains rendez-vous sur ce site ou par abonnement à la newsletter : [email protected]

Pour regarder les séminaires antérieurs : http://www.vimeo.com/sysk/

Séminaire conçu et organisé par Patricia Falguières, Elisabeth Lebovici et Natasa Petresin-Bachelez et soutenu par la Fundación Almine y Bernard Ruiz-Picasso para el Arte.

#something you should know #SYSK #Ehess #artist #producer #Inke Arns

[soup-for-breakfast-99]

the sheer chaos of this lesson is the reason ive not been doing school this week i swear to god hes insane

#this lesson makes no sense. #im watching it in x0.5 speed and i still cant tell what hes saying #hes also writing in a fountain pen with no ink left #and keeps putting his entire godamn arn infront of the camera. #help me help me help me

[unpaintedroad]

Shadow

#shadow #shadowhand #shadowfly #fly #bird #birds #hands #arn #black and white #black #picture #ink #inking #inkwork #doodle #bycrumpet #art #draw #drawing #drawbydraw #tradtionaltattoo #illustration #traditionalart #traditionallook #traditionaldraw #paintingtraditional #traditional illustration #traditional painting #traditional art #traditionalism

[dansnaturepictures]

10 of my favourite pictures I took in October 2019 (captioned below) 

I can’t really believe that, with 10 the maximum amount of images that can be included in a Tumblr photoset, my last of these posts where I put together an amount of pictures that were among my standout ones I took that month corresponding with the number of the month, is here.  Its always an exciting symbol of spring when I feel the number of the month is high enough to start doing it and then it just sort of seems to fly by. Its become a great place to reflect on the month that has just passed for me as well. You’d think it’d be done in the wrong way this activity, that in the months of May and June it’d be really hard to pick only five or six pictures taken that month (which it still is 10 usually could easily be chosen in months like these) but by the time I had to come up with 10 for October I’d be struggling. But this year like every October its one of my key photography months of the year for me so it was hard to limit this to only 10 and get the balance right. 

The captions are at the very end of the post this time so I shall do my usual summary now. October was a brilliant month for my hobby once again. Two Mondays taken off work during the month facilitated some really big further afield day trips for me over the weekends so some of my standout wildlife watching and photography days this year producing wonderful moments and no let up in the increased last year and this amount of photos I produce on days. Some more trips to work with my bridge camera to use on lunch, a week long evening mushroom project and a Lakeside walk after work one day added to this. 

A massive thing I achieved this month was taking a third of my four wildlife year lists I keep this year to a position where the current total is higher than any other year with my mammal year list, 2018 and 2015′s previous joint highest ever total leveled with Red Deer in the Richmond Park trip and beaten by Sika at Arne on the 20th which also happened to be my Dad’s birthday. Sticking with year lists and like September, October was a cracking birdwatching month for me. I got a really decent amount of year ticks again, many were among my very best and rarest birds seen this year a new one completely for me Wryneck at Hill Head was definitely a long awaited moment and one of my best ones this year this month. This all took my year list to a fantastic position I fell competing well with my two highest totals in 2018 and 2017 with the numbers I am reaching now and certainly giving them a run for their money. 

What’s tied it all together nicely as shown by many of the pictures I’ve chosen was it being a key month of autumn and autumnal subjects such as colourful leaves and mushrooms dominating my pictures once more. Thank you for all your support during these posts this year. It won’t be long before another of my favourite Tumblr posts to do come in the form of my 10 wildlife and photography highlights blogs of 2019 in December accompanied by 11 tweets on Dans_Pictures around the festive period possibly some earlier with four of my favourite pictures taken this year in certain categories. Without further ado, the 10 pictures are; 

1. Autumn leaves at Abbey Gardens, Winchester, Hampshire

2. Kestrel at Richmond Park, London 

3. Egyptian Goose at Richmond Park also

4. Red Deer, Richmond Park 

5. One of my favourite birds the Great Spotted Woodpecker at Denny Wood in the New Forest 

6. Sunset on 13th October at home

7. Shaggy ink cap mushroom on the green out the front on 17th October 

8. Autumn leaves on a sunny morning just outside the house at the front on 19th October 

9. Stonechat at Keyhaven in the New Forest 

10. Red fly agaric mushroom at RSPB Arne in Dorset

#fly agaric #mushroom #autumn leaves #autumn #october #shaggy ink cap #september #new forest #hampshire #dorset #arne #keyhaven #sunset #eastleigh #winchester #abbey gardens #richmond park #surrey #london #bushy park #kestrel #egyptian goose #red deer #sika deer #wryneck #hill head #birdwatching #birds #ripe #colour

[metrofanzine]

Mitología griega 🦊✨ Día 7 Βροντης‪ Brótês, ‬Αργης‪ Árgês, ‬Στεροπης Steropês: son los cíclopes que forjaron el rayo a Zeus, el casco de invisibilidad a Hades y el tridente de Poseidón #inktober #inktober2018 #ink #illustration #drawing #ilustracion #dibujo #fox #greek #mitologia #myth #zorro #cyclop #ciclope #brotes #arnes #steropes (presso Mexico City, Mexico) https://www.instagram.com/p/Bop2Gn6ldzB/?utm_source=ig_tumblr_share&igshid=1vqiaaanjcort

#inktober #inktober2018 #ink #illustration #drawing #ilustracion #dibujo #fox #greek #mitologia #myth #zorro #cyclop #ciclope #brotes #arnes #steropes