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Photographers Unknown, Infinite Possibilities Twice Over
“In life, the passage from one second to another is always critical because every second contains infinite possibilities that can change or end your life in every way possible!”
―
Photographers Unknown, He Who Has Chosen the Fate of the Artist
“And often he who has chosen the fate of the artist because he felt himself to be different soon realizes that he can maintain neither his art nor his difference unless he admits that he is like the others. The artist forges himself to the others, midway between the beauty he cannot do without and the community he cannot tear himself away from.”
―
Photographers Unknown, In Praise of Shadows
“We Orientals tend to seek our satisfactions in whatever surroundings we happen to find ourselves, to content ourselves with things as they are; and so darkness causes us no discontent, we resign ourselves to it as inevitable. If light is scarce, then light is scarce; we will immerse ourselves in the darkness and there discover its own particular beauty. But the progressive Westerner is determined always to better his lot. From candle to oil lamp, oil lamp to gaslight, gaslight to electric light—his quest for a brighter light never ceases, he spares no pains to eradicate even the minutest shadow.”
―
Photograper Unknown, (Amid a Field of Gray)
“Gray.
The overcast skies had the colour of deadened stones, and seemed closer than usually, as though they were phlegmatically observing my every movement with their apathetic emptily blue-less eyes; each tiny drop of hazy rain drifting around resembled transparent molten steel, the pavement looked like it was about to burst into disconsolate tears, even the air itself was gray, so ultimate and ubiquitous that colour was everywhere around me.
Gray…”
Simona Panova, Nightmarish Sacrifice
The Parts and Pieces Making a Whole: Set Four
“Don’t be afraid, the darkness you’re in is no greater than the darkness inside your own body, they are two darknesses separated by a skin, I bet you’ve never thought of that, you carry a darkness about with you all the time and that doesn’t frighten you…my dear chap, you have to learn to live with the darkness outside just as you learned to live with the darkness inside”
José Saramago, All the Names
Photographers Unknown, If One Has Only One Good Memory Left in His Heart
“You must know that there is nothing higher and stronger and more wholesome and good for life in the future than some good memory, especially a memory of childhood, of home. People talk to you a great deal about your education, but some good, sacred memory, preserved from childhood, is perhaps the best education. If a man carries many such memories with him into life, he is safe to the end of his days, and if one has only one good memory left in one’s heart, even that may sometime be the means of saving us.”
―
Photographers Unknown, The Black and White Collection: WP Photo Set Two
“Both the grand and the intimate aspects of nature can be revealed in the expressive photograph. Both can stir enduring affirmations and discoveries, and can surely help the spectator in his search for identification with the vast world of natural beauty and wonder surrounding him.”
―
Photographers Unknown, Parva Scaena (Brief Scenes): Set Eleven
“We live together, we act on, and react to, one another; but always and in all circumstances we are by ourselves. The martyrs go hand in hand into the arena; they are crucified alone. Embraced, the lovers desperately try to fuse their insulated ecstasies into a single self-transcendence; in vain. By its very nature every embodied spirit is doomed to suffer and enjoy in solitude. Sensations, feelings, insights, fancies—all these are private and, except through symbols and at second hand, incommunicable. We can pool information about experiences, but never the experiences themselves. From family to nation, every human group is a society of island universes.”
―
Photographers Unknown, The Bath
“Okay, this is the wisdom. First, time spent on reconnaissanse is never wasted. Second, almost anything can be improved with the addition of bacon. And finally, there is no problem on Earth that can’t be ameliorated by a hot bath and a cup of tea.”
―
Photogaphers Unknown, And Then–The Glory
“Sometimes a kind of glory lights up the mind of a man. It happens to nearly everyone. You can feel it growing or preparing like a fuse burning toward dynamite. It is a feeling in the stomach, a delight of the nerves, of the forearms. The skin tastes the air, and every deep-drawn breath is sweet. Its beginning has the pleasure of a great stretching yawn; it flashes in the brain and the whole world glows outside your eyes. A man may have lived all of his life in the gray, and the land and trees of him dark and somber. The events, even the important ones, may have trooped by faceless and pale. And then -the glory- so that a cricket song sweetens his ears, the smell of the earth rises chanting to his nose, and dappling light under a tree blesses his eyes. Then a man pours outward, a torrent of him, and yet he is not diminished. And I guess a man’s importance in the world can be measured by the quality and number of his glories. It is a lonely thing but it relates us to the world. It is the mother of all creativeness, and it sets each man separate from all other men. ”
―
Photographers Unknown, The Darkness and The Light
“For those who can see well in the darkness, there is no darkness and for those who cannot see well even in the light, there is no light.”
― Mehmet Murat Ildan
Photographers Unknown, His Butt: Beguiling the Senses and Enchanting the Mind: Photo Set Twenty Eight
“All shadows of clouds the sun cannot hide
like the moon cannot stop oceanic tide;
but a hidden star can still be smiling
at night’s black spell on darkness, beguiling”
―
Photographer Unknown, (The White T-Shirt and the Green Shutters)
Photographers Unknown, Forms and Conceptions
“The function of ritual and myth is to make possible, and then to facilitate, the jump—by analogy. Forms and conceptions that the mind and its senses can comprehend are presented and arranged in such a way as to suggest a truth or openness beyond. And then, the conditions for meditation having been provided, the individual is left alone. Myth is but the penultimate; the ultimate is openness—that void, or being, beyond the categories —into which the mind must plunge alone and be dissolved. Therefore, God and the gods are only convenient means—themselves of the nature of the world of names and forms, though eloquent of, and ultimately conducive to, the ineffable. They are mere symbols to move and awaken the mind, and to call it past themselves.”
―
Year: Day to Day Men: December 31
Half-Filled Tub
On December 31st of 1759, Arthur Guinness signed a nine-thousand year lease on an abandoned property and became a prominent figure within the Dublin brewery scene.
In September of1755, Arthur Guinness purchased his first brewery, a three-story building located on the confluence of the River Liffey in Leixlip, County Kildare. The river provided power and water for brewing; the hops were brought from Dublin along the Dublin-Galway road. The origin of the yeast used by Guinness is unknown, but is speculated to have come from Kildare. In September of 1756, Guinness leased several more properties to extend his business.
Leaving his Leixlip brewery in the care of his brother Richard, Guinness moved to Dublin, an area of affordable property due to a recent number of economic upsets and bank collapses. He was particularly interested in acquiring a brewery at St. James Gate that had sat abandoned for nine years. A large site of four acres, 1.6 hectares, it contained a gristmill, two malt houses, a brewhouse and stables. The property’s location near St. James Gate would be served by a terminus of the newly built Grand Canal.
The current owner of the Dublin property was the Rainsford family. It was originally owned by Sir Mark Rainsford, the Lord Mayor of Dublin and a manufacturer of beer and fine ales. The business was passed on to his son, also named Mark, who leased the business in 1715 to a Captain Paul Espinasse. In 1750, the Rainsford family resumed ownership of the business and the site. On the thirty-first of December in 1759, Arthur Guinness leased the site from Sir Mark Rainsford’s grandson, Mark Rainsford III. Under the agreement, Guinness made a £100 down-payment and agreed to pay an additional £45 annually for nine-thousand years.
The terms of the lease involving the water usage became a major problem between Arthur Guinness and the Dublin Corporation, the city’s administrator. By 1773, the Corporation claimed his brewery was using more water than that specified by his lease, a claim disputed by Guinness. However in April of 1775, the Corporation discovered that Guinness had made alterations to the pipe system that allowed him to draw more water than he was allowed. Both sides eventually settled the matter in court in 1785; Guinness agreed to lease water from the City of Dublin for an annual charge of £10.
While popular in Dublin, Guinness did not immediately achieve dominance among the regional brewers; his sales were far below those of such brewers as Taylor, Phepoe and Thwaites. Dublin brewers were not as successful as English brewers whose imported porter was the dominant drink in the city. In 1778, Guinness added porter to his ale-heavy brewery and, by 1783, it dominated his business. By 1796, porter production at the St. James Gate Brewery was five times the ale output; ale brewing at the site ended on the 22nd of April in 1799,
Although he limited his brewery to dark beer, Arthur Guinness experimented with different forms of porter. His concept of a West India Porter, with greater hops and alcohol content, later became the basis for Guinness Foreign Extra Stout. In 1777, the British House of Commons formally changed the tax code regarding domestic Irish porter; this allowed the creation of a market for the importation of Irish porter into England, which led to beer exportation as a staple of the Irish economy.