•مآه تاب 🌙•

جمعه

Use the uploaded photograph as the source image and create a 3:4 vertical “Second World” photographic reinterpretation poster, split approximately 1:1 horizontally. Preserve the original photograph as faithfully as possible in the upper half, keeping the original subjects, actions, spatial relationships, colors, natural lighting, shadows, composition, and photographic texture, allowing only minimal proportional cropping or natural extension of simple background areas when necessary. The lower half should use a clean, natural warm off-white paper background with generous negative space. Do not apply a fixed “torn-paper + tiny figure” template. Before designing the lower half, carefully analyze the specific photograph and identify its most distinctive visual structure rather than merely its subject matter, such as water ripples, roads, reflections, clouds, branches, light, shadows, architectural edges, gestures, mountain ridges, object boundaries, or directional relationships. Then ask: “If this structure could actually be touched, used, moved, entered, borrowed, changed, or interacted with, what would it most naturally become?” Use that answer to create one unique “Second World” that could only come from this photograph. Use only one core visual structure, one visual metaphor, and one main physical action; do not stack multiple concepts or mechanically reuse the same action across different images. The shape and boundary of the photographic area should also participate in the idea rather than defaulting to a generic torn edge; water may become a usable body of water, light may become something that can be borrowed, a road may continue into another space, or a branch, shadow, reflection, cloud, shoreline, or object contour may create a new spatial relationship. The lower half must not simply redraw the upper photograph; include only the minimum elements needed to express the concept. You may add 0–3 very small minimalist black hand-drawn line-art figures only when they help explain the idea. They are not decorations but users of the Second World, and they must physically interact with a structure derived from the photograph rather than merely standing nearby. If the original photograph already contains strong human, animal, or object action, do not add unnecessary figures. Use thin, loose, slightly irregular black pen lines, with no complex faces, heavy outlines, dense sketching, anime, cartoon, or full-scene illustration. Add one short handwritten English caption based on what is specifically happening in the image; the tone should feel natural, quiet, lightly humorous, observational, or like an off-screen comment, not inspirational or philosophical, and avoid repetitive formulas such as “Same..., different...”. Place the caption according to the negative space, movement, and visual balance of the composition rather than in a fixed corner. Overall style: real photography + warm off-white paper + minimal black line art, clean, restrained, poetic, intelligent, slightly handmade, and reminiscent of an independent art magazine or photography book. Avoid commercial advertising aesthetics, complex illustration, crowded figures, repeated actions, decorative stars, flowers, leaves, icons, frames, stamps, interfaces, large typography, yellowed paper, unnecessary objects, major changes to the original photograph, or any design that feels added merely for decoration. Most important: do not decorate the photograph; understand it first, then reveal another world that already seems latent inside it, so the final image creates a small moment of recognition: “Of course — this photograph could have been understood this way all along.”

ظلم ظلم است و آدمکشی آدمکشی است، و فرق نمی‌کند که ظلم و آدمکشی زیر پرچمی مدعی عدالت و برابری انجام گیرد یا با دعوی عریان و بی‌پرده‌ی قدرت‌طلبی: هر دویشان برای قدرت‌اند و برای زیر سلطه گرفتن مردمان بی‌پناه و گاه فریب‌خورده. • مصطفی مفیدی • یادداشت ابتدای رمان «تونل» • نوشته ارنستو ساباتو

‏جمعه، ۸ آوریل ۱۸۹۸: ‏«آه، چقدر خسته‌ام. خسته از رنج‌کشیدن و مبارزه‌ی بی‌حاصل داشتن.» ‏- یادداشت‌های شخصی ال. ام. مونتگمری.

دویدن و نرسیدن

خسته شدیم بخدا…

بمون کنارم

روحم آرام گرفت .

یه جاهایی از اعماق قلبم که نمیدونم وجود داشت هم درد میکنه.

آینده بی جون رو به امید احیا دوباره ؛ کشتن .

در من بی‌قراری غریبی است، چون افسوس رشد می‌کند و متورم می‌شود و چون اندوه ریشه می‌دواند. آیا ترس از آینده‌ای پیش‌بینی‌ناپذیر است و یا وحشت اضطراب درونی‌ام؟ دلهره‌ی میرایی‌ام بر من چیره شده. آیا می‌توانم با چنین دل‌مشغولی‌هایی به زندگی ادامه دهم؟ آیا این همه زندگی است یا رویایی پوچ؟ بر قله‌های ناامیدی - امیل چوران