No matter how good you get at seeing your own seeing, seeing big, and seeing small, you can never really see the world as they see it. You can't "go native" and be just like them. Despite my best efforts, I could not really bring myself to believe that Kodenim had been killed by witchcraft, and that the death could have been avoided if my father had nurtured a healthier relationship with him. I was about to find out that the most interesting difference I encountered on that basketball court that day was not the tie game or the interesting method of counting. It was that last thing Kodenim said to me: " People might be jealous." When I photograph it is a balance between my mind and heart; my brain looks after the technicals while my heart looks after the emotion within the photograph. Too much of one will leave an emotionless image or a poorly executed image. To sum up, I think the words from one of my favorite songs, “Reverence” by Faithless: A flower is relatively small. Everyone has many associations with a flower — the idea of flowers. You put out your hand to touch the flower — lean forward to smell it — maybe touch it with your lips almost without thinking — or give it to someone to please them. Still — in a way — nobody sees a flower — really — it is so small — we haven’t time — and to see takes time, like to have a friend takes time. If I could paint the flower exactly as I see it no one would see what I see because I would paint it small like the flower is small. Using patterns in your photographs help create rhythm. Patterns appear everywhere in nature, try and photograph a pattern that has a repeated shape as in the image below of lines in the dunes, these repeated patterns will add rhythm that the viewer will easily follow. In this image, I used a low angle of view and tilted the wide angle lens to create diagonal lines and exaggerated the stormy sky which adds mood.

My father offered to wash Kodenim as a show of his innocence. Washing is a ritual thought to "cool" the witchcraft. If my father was the witch, the soap and water would cool his witchcraft and remove it from Kodenim. A basic assumption that anthropologists make about culture is that everything is connected. Culture is a complex system made up of many different but interrelated elements. You cannot understand any one part of a culture without understanding how it is related to other parts in the cultural system. Understanding culture will ultimately require that we take a holistic perspective. We have to practice "seeing big." There are these two young fish swimming along, and they happen to meet an older fish swimming the other way, who nods at them and says, “Morning, boys, how’s the water?” And the two young fish swim on for a bit, and then eventually one of them looks over at the other and goes, “What the hell is water?” — David Foster Wallace We must pay close attention not only to what is said, but also who said it, how they said it, who they said it to, when, where, and if at all possible to decipher, why. Long-term fieldwork of many months or even several years is a must for this kind of seeing. It takes time not only to learn the language but also to tune your senses and start to see what matters and what does not.

Ideas

Ask any photographer about rules of composition and the Rule of Thirds will slip off their tongue. For some photographers it is all they will ever use. But mastering the art of seeing offers something even more profound. When you master the art of seeing you will never be bored. You will see the strange in the familiar, and the familiar in the strange. And you will have the ability to find significance in the most mundane moments. As David Foster Wallace says, “if you really learn how to pay attention … it will be in your power to experience a crowded, hot, slow, consumer-hell type situation as not only meaningful, but sacred, on fire with the same force that made the stars: love, fellowship, the mystical oneness of all things deep down.” But the closer we look, the more we find these elements of culture are so intimately connected that there is no way to pull them apart. Instead of saying that one element shapes another, we often say that one element “shapes and is shaped by” another. My father offered to wash Kodenim as a show of his innocence. Washing is a ritual thought to “cool” the witchcraft. If my father was the witch, the soap and water would cool his witchcraft and remove it from Kodenim.

For the simple neurotic who has abundance of time to play with, Huxley's antics of palming, shifting, flashing, and the rest are probably as good treatment as any other system of Yogi or Coué-ism. To these the book may be of value. It is hardly possible that it will impress anyone endowed with common sense and a critical faculty. It may be dangerous in the hands of the impressionable who happen to suffer from glaucoma or detachment of the retina. . . [2] [3] Driven by his trademark sense of curiosity, Brooks draws from the fields of psychology and neuroscience, and from the worlds of theatre, history, and education, to present a welcoming, hopeful, integrated approach to human connection. How to Know a Person helps readers become more understanding and considerate towards others; it helps readers find the joy that comes from being seen. Along the way it offers a possible remedy for a society that is riven by fragmentation, hostility, and misperception. Rules of symmetry and rhythm are two essential guides that will help you become more creative in your photography. Symmetry is achieved when one side mirrors or balances with the other. Best-known use of symmetry in nature photography is the reflection. The art of seeing can be broken up into four parts. First, we have to see our own seeing—that is, see how we see the world, recognizing our own taken-for-granted assumptions, and be able to set them aside. Second, we have to “see big,” to see the larger cultural, social, economic, historical, and political forces that shape our everyday lives. Third, we have to “see small,” paying close attention to the smallest details and understanding their significance. And finally, we have to “see it all,” piecing all of this together to see how everything we can see interacts from a holistic point of view. Whatever be the value of the exercises, it is quite unintelligent of Huxley to have confused their advocacy with so many misstatements regarding known scientific facts. It has been shown that the hypothesis upon which these methods of treatment are based is wrong; but Huxley, while admitting he is ignorant of the matter and unqualified to speak, contends that this is of no importance because the method works in practice and gives good results: it comes into the category of "art" not of "science." The argument is perfectly allowable, for in other spheres than medicine empirical methods have often produced effective results the rationale of which may be mysterious. The most stupid feature about his book, however, is that he insists throughout on the physiological mechanism whereby these exercises are supposed to work. It would at least have been logical if he had continued to allow the reader to assume that he was speaking in ignorance of anything except results. . . .

Rapid Response:

Capitalism shapes and is shaped by individualism. Individualism shapes and is shaped by the American political system. The American labor market shapes and is shaped by individualism. This kind of relationship is called "mutual constitution." Both elements are "constituted" (made up of and made possible by) each other. Let’s start our practice by using the barrel model to examine American culture. We can begin by simply plugging in some simple descriptions of American infrastructure, social structure and superstructure.

Look for interesting patterns in clouds and include them with your wildlife subjects. Clouds give you shapes and textures which create a sense of depth, a three-dimensional feel. Let's start our practice by using the barrel model to examine American culture. We can begin by simply plugging in some simple descriptions of American infrastructure, social structure and superstructure. The more I started paying attention to the little things, the more I understood that these local beliefs that I was categorizing as witchcraft were actually just one piece of a much larger, richer, and more convincing worldview. I started noticing the care and concern given to analyzing each and every gift exchange. I noticed how each gift was given along with a short and carefully delivered speech about where the materials came from, who made it, who delivered it, and who cared for it along the way. I noticed how they talked about such gifts as “building a road” or “tying a string” between the two parties so that they would always remember each other. And soon, this careful attention to relationships and the gifts that bind them was helping me understand why dunking a basketball or otherwise showboating, or looking to crush your opponent, is not valued. I started noticing a great deal of concern about jealousy and other elements that could eat away at a relationship. Suppose that crippled eyes could be transformed into crippled legs. What a heart-rending parade we would witness on a busy street! Nearly every other person would go limping by. Many would be on crutches and some on wheel chairs. The aftermath was difficult. Kodenim’s family was hurt and angry, as we all were, and came to my father asking for compensation. They wanted a huge amount of wealth by local standards – several bushknives, two axes, clothes, bags, bows and arrows. Altogether, their request was many times the wealth of any single individual.

Symbols

What eventually emerged from these close and careful observations was an entirely different understanding of health and well-being. They understand themselves to be physically made up of their relationships. It starts from the basic recognition that the food they eat becomes who they are. This is, of course, actually true. We process the food we eat and its energy fuels our growth. For them, every piece of food they ever consume from the time they are a small child is a gift, and they are taught to know where it came from and all of the people that helped bring it into their hands and into their bodies. I owned the court. I grabbed a steal and went in for another dunk, looking to Kodenim again for a fist pump or cheer. Instead, he gave me a stern look and pounded his bicep with his hand. He was trying to send me a signal, but I wasn't getting it. Taking simple everyday objects as our starting point, you will be introduced to ways of exploring how your perception can change when you involve different aspects of your sensory experience, which can lead to more appreciation of your subject matter, as well as renewed meaning and purpose in drawing. I stepped onto the court and noticed that for the first time in my life, I was taller than everybody else. Even better, the rims had been set to about 8 feet, perfect for dunking. I rushed in for a massive dunk on my first opportunity, putting my team up 6-0. I looked to my friend Kodenim for a high five, but he looked concerned or even angry as he slapped his hand to his forearm as if to say, "Foul! Foul!" There will be opportunity to investigate a variety of drawing materials and approaches, to refresh your drawing or stimulate new directions. What will I achieve?

Seeing small had allowed me to understand their logic. Seeing big allowed me to see how this logic fit in with other elements of their culture. The more I communicated, empathized, and thought through the matter, the more I started to understand – not as an academic studying the matter, but as a human being deeply enmeshed in the matter myself. From that insider perspective, I now realized that witchcraft beliefs were an integral part of a much larger system that had remained hidden until then. In 1920 a doctor in America released a book that induced a hail of vituperation. The bad reception was not the reaction of a public. It came from his own ranks – the ophthalmological and optometrical professions. His peers who treated ills of the eye, the ophthalmologists, joined the prescribers of glasses, the optometrists, in saying that the claims of Dr W H Bates were preposterously and infuriatingly wrong. Offending the good and the great, the book was “Perfect Sight Without Glasses.” You should be able to follow simple written and verbal instructions, demonstrations, hand-outs and health and safety information, and will be invited to take part in group discussion. You should be able to use numbers and be able to do simple measurements and calculations. to correlate the methods of visual education with the findings of modern psychology and critical philosophy. My purpose in making this correlation is to demonstrate the essential reasonableness of a method, which turns out to be nothing more or less than the practical application to the problems of vision of certain theoretical principles, universally accepted as true. [1]To cure the optical defect of an eye––whether it has existed since youth or acquired in the course of a lifetime––he had a set of eye exercises. Included in the Bates Method was “sunning,” exposing the eyes to the sun. Also advised was “exclusion of mental strain” by covering the eyes with the palms, and then uncovering to focus on a target, whereupon any optically-defective eyes should note a flash of visual clarity. With practice such flashes should, supposedly, merge into a continuum of sharp eyesight. Not only could the Bates Method treat optical failures of the eye but his regime, said Dr Bates, could also cure many pernicious diseases of the eye. He wrote, in 1920, with adamantine conviction. Any improvement in the power of perceiving tends to be accompanied by an improvement in the power of sensing and of the product of sensing and perceiving which is seeing. There are these two young fish swimming along, and they happen to meet an older fish swimming the other way, who nods at them and says, "Morning, boys, how's the water?" And the two young fish swim on for a bit, and then eventually one of them looks over at the other and goes, "What the hell is water?"— David Foster Wallace