This image shows an urban development scene near a railway. In the foreground is a construction site with stacked materials, temporary structures, and a container marked "BLOCK 4." Multiple railway tracks run along the right side, with overhead electrical lines and signal towers. In the background, several high-rise apartment or office buildings are under construction, with at least one visible crane. The scene is photographed during golden hour or sunset, giving warm lighting to the industrial landscape. Brick buildings are visible on the left side, and the entire area appears to be undergoing significant redevelopment with new towers rising behind the existing infrastructure.

Things slip out of life and out of place and the photograph’s role is to fix this bruise of memory.
— Peter Mitchell

Othodox Jewish man in black hat and robes riding past on a grey bike holding the handlebars and his phone in his left hand. Warmlate afternoon sunlight is streaming through the railway arch in the background behind him.
A blooming white cherry tree stands in full flower in a park setting, surrounded by still-bare deciduous trees. Beneath the tree are wooden picnic tables on a grassy area. A woman and small child stand under the blossoms, with a pink scooter nearby. A trash bin labeled LITTER sits in the corner of this early spring scene, with a metal fence visible in the background. To the left, two children are climbing a tree

“I often think that I don’t have a single new idea in my head. But the big mistake is to just wait for inspiration to happen. It won’t come looking for you. You have to start doing something: you have to build a trap to catch it. I like to do that by starting the very mundane process of tidying my studio. It may seem like it has nothing to do with the creative job in hand but I think tidying up is a form of daydreaming, and what you’re really doing is tidying your mind. It’s a kind of mental preparation. It’s a way of getting your mind in place to notice something. And that’s what being creative is really: it’s noticing when something interesting is starting to happen.”
—Brian Eno

Via @_nitch

view through undergrowth looking down on a Victorian railway viaduct in North London. The vegetation is framing the viaduct and there are buildings on the horizon.

Don’t think.
—Ray Bradbury

Looking down an overgrown river. The banks are covered with vegetation and trees overhang the river obscuring the sky. The water is a muddy green. There is a pool of light on the water in the centre of frame where the light is breaking through the canopy
looking up to the sky through the stones arches of a ruined church in Lisbon. The structure in the foreground is shrouded in scaffolding covered with white netting. Some warm coloured sunlight is hitting the nearer arch and the sky is cloudy.

Why not do it now?
— Tyler Cowen

looking down hill from the edge of Parliament Hill towards central London. The path is unofficial and made by people walking across the grass. It forks just before a barrier of red and orange hazard tape stretched between posts on either side of the path. There are trees on either side of the path in the top corners and in the lower right there is a Y shaped shadow from a tree trunk that is an inverted mirror of the Y shape of the path
looking out towards central london from Parliament Hill, with the view framed between two stands of trees, focussing the eye on a tower block that is standing much taller than the residential buildings that surround it.
Blue sign on white wall, with  — All things arise, exist, and expire — written in Thai above and English below in white text. The bottom half of the frame is full of fake flowers, mostly pink, yellow and purple orchids.

I don’t think of it as art — I just make things I like bigger, assuming that if I like them some other people might too.
— Corita Kent

Keiran Fourtet doing what he does best, and the moon while waiting for an Uber home.

Tomorrow

The one thing all fools have in common is that they are always getting ready to start.
—Seneca.

“The sure sign of an amateur is that he has a million plans and they all start tomorrow.”
Steven Pressfield, from Turning Pro

The image shows a cartoon/comic strip about abstract art. In the top panel, a smiling character in a hat and suit points to an abstract painting with geometric lines and shapes, saying "HA HA HA WHAT DOES THIS REPRESENT?" In the bottom panel, the abstract painting now has legs, and an arm which is pointing back at the person, asking "WHAT DO YOU REPRESENT?" with the character now lying flat. Below the comic is text explaining that abstract paintings react to viewers based on what viewers bring to them. It states that art "is alive if you are" and concludes with "YOU, SIR, ARE A SPACE, TOO" while showing the character lying flat on the ground with Xs for eyes. The comic appears to be commenting on the relationship between art and viewer, suggesting that meaning in art is reciprocal.
A white box with text that reads "pretty shitty how baseline human activities like singing, dancing and making art got turned into skills instead of being seen as behaviors
&10;so now it's like 'the point of doing them is to get good at them' and not 'this is a thing humans do, the way birds sing and bees make hives." on top of a painting of women dancing in a circle in a fantastical forest. A crescent moon with a face and illustrated stars and constellations are floating among the trees

“ANYTHING GOES. NO RULES. NO RESTRICTIONS. NO LIMITS”

— William Klein

I feel like commercials exist in the world with us and we have no say in whether we see them or don’t see them. And therefore they should serve the function of art. … they inhabit the world I live in and I want the world that I live in, quite selfishly, to be beautiful and to teach me something and to have artistic merit.
— Joe Connor

From part one of this excellent interview with Joe on Setnotes.

A misty landscape view of a minimal structure in open field at Rye Nature Reserve, with tall support poles and multiple tree trunk segments arranged in a circle as seating. The scene is bordered by wire fencing and stretches out to a hazy horizon where patches of water are visible in the distance.

Rye Nature Reserve, December 2024

Crude painting of four sun flowers on a white background painted onto the side of a delapidated telecom box in the bleak scrubland beside a carpark

Writing a blog is nothing like writing for publication. There is no preexisting audience you have to please. The audience is created as a reflection of your curiosity. A blog post is a very long and complex search query to find fascinating people and make them route interesting stuff to your inbox.
Henrik Karlsson

Your job as a writer is to imagine yourself into the lives of people who are not you . . . and, that way, provide a gateway for readers to also imagine themselves into the lives of others so that we can build up a community of shared understanding.”
—Caryl Phillips

I think this is what good documentary and portrait photography is doing too. You have to meet the subject as they are, without preconception or categorisation, so that your picture becomes a door into their world. The focus is on what makes them individual, rather than using them to illustrate a universal.

H/t Russell Davies

Painting of a phonebox by Keita Morimoto. The phonebox is lit with orange light and the background road, cars, trees and sky are tinged with green

Beautiful work by Keita Morimoto 森本啓太 , via Alan Jacobs.