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          <title><![CDATA[異常  #nikon ZF #nikkor ais 50mm f1.8 | Max Wang]]></title>
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          <title><![CDATA[逆さ空   なんとなく写真を逆さまに。  ちょっとした悪戯心を加えるだけで 異世界を見せてくれる日常     #reflection #ripples #sky #water #波紋 #リフレクション #水面 #逆さま | eriko]]></title>
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          <description><![CDATA[Descarga en cizucu una imagen gratuita y de alta calidad de Zona de alimentación de carpas koi con peces de agua dulce reunidos en la superficie tomada por RYUURI.]]></description>
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          <title><![CDATA[2025年の登り納めはくじゅう連山 夜明け前山頂の気温は-4℃らしいけど、 風がなくて暖かくすら感じる  今年の冬は異常なくらいの暖冬になりそう   | ICHIHO]]></title>
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          <description><![CDATA[Explora más de las increíbles obras de ICHIHO en cizucu.]]></description>
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          <title><![CDATA[芯蝕症状 Case-01 異常回復性偏在#004 Shibuya_202603 | ぺん弌]]></title>
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          <description><![CDATA[Explora más de las increíbles obras de ぺん弌 en cizucu.]]></description>
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            <name>ぺん弌</name>
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          <title><![CDATA[【芯蝕症状】 Case-01 異常修復性偏在#006 Shibuya_202603 | ぺん弌]]></title>
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          <description><![CDATA[Explora más de las increíbles obras de ぺん弌 en cizucu.]]></description>
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            <name>ぺん弌</name>
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          <pubDate>Fri, 27 Mar 2026 23:39:59 GMT</pubDate>
          <atom:updated>2026-05-03T13:10:08+09:00</atom:updated>
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          <title><![CDATA[芯蝕症状 Case-01 異常回復性偏在#005 Shibuya_202603 | ぺん弌]]></title>
          <link>https://www.cizucu.com/es/photos/UMiwUttITtoIJy0qikAh</link>
          <description><![CDATA[Explora más de las increíbles obras de ぺん弌 en cizucu.]]></description>
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            <name>ぺん弌</name>
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          <pubDate>Sat, 04 Apr 2026 08:34:01 GMT</pubDate>
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          <title><![CDATA[芯蝕症状 Case-01 異常回復性偏在#001 Shibuya_202603 | ぺん弌]]></title>
          <link>https://www.cizucu.com/es/photos/IE0Dg9izDT50mKwI7XfL</link>
          <description><![CDATA[Explora más de las increíbles obras de ぺん弌 en cizucu.]]></description>
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            <name>ぺん弌</name>
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          <pubDate>Sat, 28 Mar 2026 00:07:38 GMT</pubDate>
          <atom:updated>2026-03-28T00:08:08+09:00</atom:updated>
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          <title><![CDATA[今日の見張り担当。 異常なし。……たぶん、おやつどこかな？ | kumasaburo2533]]></title>
          <link>https://www.cizucu.com/es/photos/6SsbVOM4jDYIBLMmspUM</link>
          <description><![CDATA[Explora más de las increíbles obras de kumasaburo2533 en cizucu.]]></description>
          <author>
            <name>kumasaburo2533</name>
            <uri>https://www.cizucu.com/es/users/wztadBzDhcaHBD1pFbBWisyhojW2</uri>
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          <pubDate>Wed, 20 May 2026 12:34:29 GMT</pubDate>
          <atom:updated>2026-05-20T12:34:29+09:00</atom:updated>
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        <item>
          <title><![CDATA[這是與一群攝影朋友，齊聚第一次街拍團拍的一個下午。 我們各自帶著不同的相機，即使相異，仍因有相同的初心而聚在一起，也因他們，讓我激發出跟以往街拍時不一樣的思考與構圖。  我蹲坐在店家旁的樓梯口，開始捕捉巷弄日常的人流，用低角度、慢快門，紀錄日常生活中的流動，也像我的視界也開始有了新的流動。 | LEE PEI SUNG]]></title>
          <link>https://www.cizucu.com/es/photos/FF43KLYoMPeLDsHWkwdP</link>
          <description><![CDATA[Explora más de las increíbles obras de LEE PEI SUNG en cizucu.]]></description>
          <author>
            <name>LEE PEI SUNG</name>
            <uri>https://www.cizucu.com/es/users/nES86Xo4ekasSwU42lvjR5Sg35a2</uri>
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          <pubDate>Sat, 18 Apr 2026 19:48:22 GMT</pubDate>
          <atom:updated>2026-04-18T19:48:45+09:00</atom:updated>
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            <media:title><![CDATA[這是與一群攝影朋友，齊聚第一次街拍團拍的一個下午。 我們各自帶著不同的相機，即使相異，仍因有相同的初心而聚在一起，也因他們，讓我激發出跟以往街拍時不一樣的思考與構圖。  我蹲坐在店家旁的樓梯口，開始捕捉巷弄日常的人流，用低角度、慢快門，紀錄日常生活中的流動，也像我的視界也開始有了新的流動。 | LEE PEI SUNG]]></media:title>
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            <media:description><![CDATA[Explora más de las increíbles obras de LEE PEI SUNG en cizucu.]]></media:description>
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        <item>
          <title><![CDATA[在異地生活的過程中，常以第三者的視角觀看首爾街頭，尋找日常中有趣的畫面。  這件作品拍攝於韓國街頭。一個標示「禁止停車」的設施，其傾斜的姿態彷彿正在鞠躬。原本具有命令性的語言，在這個微妙的角度之下，被轉化為一種柔和而不具威脅性的提醒。  我將場域與細節並置，使這個擬人化的瞬間被放大觀看。然而，在這種看似溫和的表象之下，仍潛藏著另一層張力：一個帶有損壞痕跡的物件，仍維持著低姿態對外示意。似乎在提醒著我們「禮貌」不只是人際互動的形式，而是一種滲透於環境之中的文化機制。  當「禁止」以如此謙遜的形式出現時，它不僅沒有削弱約束，反而揭示了一種更深層的運作方式——規範並非透過強制，而是透過內化，使個體在不自覺中調整自身姿態。  在這樣的觀看之下，我開始質疑：我們是否也如同這個物件一般，在受損與不完整的狀態中，仍持續維持著一種被期待的姿態，以回應社會的目光與秩序。  During my time living abroad, I began to notice that “politeness” extends beyond human interactions—it is embedded in everyday objects and environments.  This work was photographed on a street in Korea. A “No Parking” traffic cone, tilted in such a way, visually appears as if it is bowing. What is originally a directive—firm and restrictive—becomes softened through this subtle gesture.  By combining a contextual wide shot with a close-up, I aim to highlight this anthropomorphic moment. The juxtaposition invites viewers to reconsider how rules are communicated—not merely as enforcement, but as a form of culturally embedded courtesy.  Yet beneath this seemingly gentle appearance lies another layer of tension: a damaged object that continues to maintain a lowered posture, as if still performing its role.  Through these lens, I begin to question: how are we shaped by our surroundings, and how do we, in turn, learn to negotiate boundaries with gentleness? Also, are we, like this object, continuing to perform expected forms of behaviour even in states of damage and incompleteness—quietly responding to the gaze and order of society? | Joanne Sun]]></title>
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          <description><![CDATA[Explora más de las increíbles obras de Joanne Sun en cizucu.]]></description>
          <author>
            <name>Joanne Sun</name>
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          <pubDate>Thu, 07 May 2026 02:19:00 GMT</pubDate>
          <atom:updated>2026-05-07T02:20:37+09:00</atom:updated>
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            <media:title><![CDATA[在異地生活的過程中，常以第三者的視角觀看首爾街頭，尋找日常中有趣的畫面。  這件作品拍攝於韓國街頭。一個標示「禁止停車」的設施，其傾斜的姿態彷彿正在鞠躬。原本具有命令性的語言，在這個微妙的角度之下，被轉化為一種柔和而不具威脅性的提醒。  我將場域與細節並置，使這個擬人化的瞬間被放大觀看。然而，在這種看似溫和的表象之下，仍潛藏著另一層張力：一個帶有損壞痕跡的物件，仍維持著低姿態對外示意。似乎在提醒著我們「禮貌」不只是人際互動的形式，而是一種滲透於環境之中的文化機制。  當「禁止」以如此謙遜的形式出現時，它不僅沒有削弱約束，反而揭示了一種更深層的運作方式——規範並非透過強制，而是透過內化，使個體在不自覺中調整自身姿態。  在這樣的觀看之下，我開始質疑：我們是否也如同這個物件一般，在受損與不完整的狀態中，仍持續維持著一種被期待的姿態，以回應社會的目光與秩序。  During my time living abroad, I began to notice that “politeness” extends beyond human interactions—it is embedded in everyday objects and environments.  This work was photographed on a street in Korea. A “No Parking” traffic cone, tilted in such a way, visually appears as if it is bowing. What is originally a directive—firm and restrictive—becomes softened through this subtle gesture.  By combining a contextual wide shot with a close-up, I aim to highlight this anthropomorphic moment. The juxtaposition invites viewers to reconsider how rules are communicated—not merely as enforcement, but as a form of culturally embedded courtesy.  Yet beneath this seemingly gentle appearance lies another layer of tension: a damaged object that continues to maintain a lowered posture, as if still performing its role.  Through these lens, I begin to question: how are we shaped by our surroundings, and how do we, in turn, learn to negotiate boundaries with gentleness? Also, are we, like this object, continuing to perform expected forms of behaviour even in states of damage and incompleteness—quietly responding to the gaze and order of society? | Joanne Sun]]></media:title>
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          <title><![CDATA[在異地生活的過程中，常以第三者的視角觀看首爾街頭，尋找日常中有趣的畫面。  這件作品拍攝於韓國街頭。一個標示「禁止停車」的設施，其傾斜的姿態彷彿正在鞠躬。原本具有命令性的語言，在這個微妙的角度之下，被轉化為一種柔和而不具威脅性的提醒。  我將場域與細節並置，使這個擬人化的瞬間被放大觀看。然而，在這種看似溫和的表象之下，仍潛藏著另一層張力：一個帶有損壞痕跡的物件，仍維持著低姿態對外示意。似乎在提醒著我們「禮貌」不只是人際互動的形式，而是一種滲透於環境之中的文化機制。  當「禁止」以如此謙遜的形式出現時，它不僅沒有削弱約束，反而揭示了一種更深層的運作方式——規範並非透過強制，而是透過內化，使個體在不自覺中調整自身姿態。  在這樣的觀看之下，我開始質疑：我們是否也如同這個物件一般，在受損與不完整的狀態中，仍持續維持著一種被期待的姿態，以回應社會的目光與秩序。  During my time living abroad, I began to notice that “politeness” extends beyond human interactions—it is embedded in everyday objects and environments.  This work was photographed on a street in Korea. A “No Parking” traffic cone, tilted in such a way, visually appears as if it is bowing. What is originally a directive—firm and restrictive—becomes softened through this subtle gesture.  By combining a contextual wide shot with a close-up, I aim to highlight this anthropomorphic moment. The juxtaposition invites viewers to reconsider how rules are communicated—not merely as enforcement, but as a form of culturally embedded courtesy.  Yet beneath this seemingly gentle appearance lies another layer of tension: a damaged object that continues to maintain a lowered posture, as if still performing its role.  Through these lens, I begin to question: how are we shaped by our surroundings, and how do we, in turn, learn to negotiate boundaries with gentleness? Also, are we, like this object, continuing to perform expected forms of behaviour even in states of damage and incompleteness—quietly responding to the gaze and order of society?   | Joanne Sun]]></title>
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          <description><![CDATA[Explora más de las increíbles obras de Joanne Sun en cizucu.]]></description>
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            <name>Joanne Sun</name>
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          <title><![CDATA[在異地生活的過程中，常以第三者的視角觀看首爾街頭，尋找日常中有趣的畫面。  這件作品拍攝於韓國街頭。一個標示「禁止停車」的設施，其傾斜的姿態彷彿正在鞠躬。原本具有命令性的語言，在這個微妙的角度之下，被轉化為一種柔和而不具威脅性的提醒。  我將場域與細節並置，使這個擬人化的瞬間被放大觀看。然而，在這種看似溫和的表象之下，仍潛藏著另一層張力：一個帶有損壞痕跡的物件，仍維持著低姿態對外示意。似乎在提醒著我們「禮貌」不只是人際互動的形式，而是一種滲透於環境之中的文化機制。  當「禁止」以如此謙遜的形式出現時，它不僅沒有削弱約束，反而揭示了一種更深層的運作方式——規範並非透過強制，而是透過內化，使個體在不自覺中調整自身姿態。  在這樣的觀看之下，我開始質疑：我們是否也如同這個物件一般，在受損與不完整的狀態中，仍持續維持著一種被期待的姿態，以回應社會的目光與秩序。  During my time living abroad, I began to notice that “politeness” extends beyond human interactions—it is embedded in everyday objects and environments.  This work was photographed on a street in Korea. A “No Parking” traffic cone, tilted in such a way, visually appears as if it is bowing. What is originally a directive—firm and restrictive—becomes softened through this subtle gesture.  By combining a contextual wide shot with a close-up, I aim to highlight this anthropomorphic moment. The juxtaposition invites viewers to reconsider how rules are communicated—not merely as enforcement, but as a form of culturally embedded courtesy.  Yet beneath this seemingly gentle appearance lies another layer of tension: a damaged object that continues to maintain a lowered posture, as if still performing its role.  Through these lens, I begin to question: how are we shaped by our surroundings, and how do we, in turn, learn to negotiate boundaries with gentleness? Also, are we, like this object, continuing to perform expected forms of behaviour even in states of damage and incompleteness—quietly responding to the gaze and order of society?   | Joanne Sun]]></title>
          <link>https://www.cizucu.com/es/photos/KpT2BNd1rIgt88NrbYC6</link>
          <description><![CDATA[Explora más de las increíbles obras de Joanne Sun en cizucu.]]></description>
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            <media:title><![CDATA[在異地生活的過程中，常以第三者的視角觀看首爾街頭，尋找日常中有趣的畫面。  這件作品拍攝於韓國街頭。一個標示「禁止停車」的設施，其傾斜的姿態彷彿正在鞠躬。原本具有命令性的語言，在這個微妙的角度之下，被轉化為一種柔和而不具威脅性的提醒。  我將場域與細節並置，使這個擬人化的瞬間被放大觀看。然而，在這種看似溫和的表象之下，仍潛藏著另一層張力：一個帶有損壞痕跡的物件，仍維持著低姿態對外示意。似乎在提醒著我們「禮貌」不只是人際互動的形式，而是一種滲透於環境之中的文化機制。  當「禁止」以如此謙遜的形式出現時，它不僅沒有削弱約束，反而揭示了一種更深層的運作方式——規範並非透過強制，而是透過內化，使個體在不自覺中調整自身姿態。  在這樣的觀看之下，我開始質疑：我們是否也如同這個物件一般，在受損與不完整的狀態中，仍持續維持著一種被期待的姿態，以回應社會的目光與秩序。  During my time living abroad, I began to notice that “politeness” extends beyond human interactions—it is embedded in everyday objects and environments.  This work was photographed on a street in Korea. A “No Parking” traffic cone, tilted in such a way, visually appears as if it is bowing. What is originally a directive—firm and restrictive—becomes softened through this subtle gesture.  By combining a contextual wide shot with a close-up, I aim to highlight this anthropomorphic moment. The juxtaposition invites viewers to reconsider how rules are communicated—not merely as enforcement, but as a form of culturally embedded courtesy.  Yet beneath this seemingly gentle appearance lies another layer of tension: a damaged object that continues to maintain a lowered posture, as if still performing its role.  Through these lens, I begin to question: how are we shaped by our surroundings, and how do we, in turn, learn to negotiate boundaries with gentleness? Also, are we, like this object, continuing to perform expected forms of behaviour even in states of damage and incompleteness—quietly responding to the gaze and order of society?   | Joanne Sun]]></media:title>
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