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      <description><![CDATA[Encuentra las mejores 5 fotos Miroirs en alta resolución en cizucu. Todas son libres de derechos, gratuitas para descargar y perfectas para cualquier proyecto, sin necesidad de atribución.]]></description>
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          <title><![CDATA[endless mirrors | Paolo Del Rocino]]></title>
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          <description><![CDATA[Explora más de las increíbles obras de Paolo Del Rocino en cizucu.]]></description>
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            <name>Paolo Del Rocino</name>
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          <pubDate>Mon, 09 Feb 2026 08:22:06 GMT</pubDate>
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          <title><![CDATA[iroiro | sakisakichan]]></title>
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          <description><![CDATA[Explora más de las increíbles obras de sakisakichan en cizucu.]]></description>
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          <pubDate>Fri, 11 Jul 2025 12:45:44 GMT</pubDate>
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            <media:description><![CDATA[Explora más de las increíbles obras de sakisakichan en cizucu.]]></media:description>
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          <title><![CDATA[ミラーに映る駅の景色  #ミラー #miror #風景 #駅 #鉄道  📍Locate：静岡県富士市 岳南鉄道終着駅 岳南江尾駅ホーム | hkr_capturedmoments]]></title>
          <link>https://www.cizucu.com/es/photos/wFp8D6wdDaCJYhQbTukj</link>
          <description><![CDATA[Explora más de las increíbles obras de hkr_capturedmoments en cizucu.]]></description>
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          <pubDate>Mon, 16 Mar 2026 19:13:05 GMT</pubDate>
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            <media:description><![CDATA[Explora más de las increíbles obras de hkr_capturedmoments en cizucu.]]></media:description>
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          <title><![CDATA[This photograph is part of a series titled "Mothers in Tangent". I was fortunate to chance upon this female Long-tailed Macaque cradling her infant at the summit of Bukit Timah Hill, the highest natural point in Singapore. Coincidentally, a human mother is captured in the background tending to her daughter's hair—a fleeting moment where she mirrors the macaque, highlighting the universality of parental instincts. These two worlds exist in tangent, both nurturing their offspring as they reach the peak. | Brennan Chin (Visual Moments)]]></title>
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          <description><![CDATA[Explora más de las increíbles obras de Brennan Chin (Visual Moments) en cizucu.]]></description>
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            <name>Brennan Chin (Visual Moments)</name>
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          <pubDate>Wed, 14 Jan 2026 03:41:32 GMT</pubDate>
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            <media:title><![CDATA[This photograph is part of a series titled "Mothers in Tangent". I was fortunate to chance upon this female Long-tailed Macaque cradling her infant at the summit of Bukit Timah Hill, the highest natural point in Singapore. Coincidentally, a human mother is captured in the background tending to her daughter's hair—a fleeting moment where she mirrors the macaque, highlighting the universality of parental instincts. These two worlds exist in tangent, both nurturing their offspring as they reach the peak. | Brennan Chin (Visual Moments)]]></media:title>
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          <title><![CDATA[Under the fluorescent glow of 7‑Eleven, a quiet kind of democracy unfolds. Here, in the threshold between street and shelter, differences dissolve—if only for a moment. Foreigners in transit, Thai locals on routine, migrant workers from Myanmar on break: they all arrive with the same gestures, the same small transactions, the same pause in motion. The counter becomes a shared horizon, where currencies, languages, and lives briefly align.  In Thailand, 7/11 is more than a convenience store—it is infrastructure, ritual, and refuge. It punctuates the day with iced coffees, toasted sandwiches, and the soft hum of air conditioning. It is a place of arrival without destination. Yet, embedded in this familiarity is a quiet tension: the rhythm of consumption mirrors the transient pace of those who pass through it. Quick, efficient, replaceable. A culture of immediacy—mirroring the itinerant lives of travelers who drift through, never fully staying.  There is a tenderness in this contradiction. Everyone loves 7/11. Not despite its uniformity, but because of it. It offers consistency in a landscape of movement. But that same consistency flattens difference, turning moments into transactions, encounters into routines.  This photograph captures that ambivalence. The saturated red hue—produced by pre-souped Kodak Gold 200 film—bathes the scene in a sense of heat and nostalgia, as if the image itself is dissolving under the weight of time and repetition. The familiar green-orange stripes are still visible, but altered, almost overwhelmed. What remains is an atmosphere: dense, fleeting, and slightly melancholic.  A place where everyone meets—yet no one stays. | analogbysissi]]></title>
          <link>https://www.cizucu.com/es/photos/T23GHpu4jeBibaaVi8wS</link>
          <description><![CDATA[Explora más de las increíbles obras de analogbysissi en cizucu.]]></description>
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          <pubDate>Fri, 10 Apr 2026 15:23:09 GMT</pubDate>
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            <media:title><![CDATA[Under the fluorescent glow of 7‑Eleven, a quiet kind of democracy unfolds. Here, in the threshold between street and shelter, differences dissolve—if only for a moment. Foreigners in transit, Thai locals on routine, migrant workers from Myanmar on break: they all arrive with the same gestures, the same small transactions, the same pause in motion. The counter becomes a shared horizon, where currencies, languages, and lives briefly align.  In Thailand, 7/11 is more than a convenience store—it is infrastructure, ritual, and refuge. It punctuates the day with iced coffees, toasted sandwiches, and the soft hum of air conditioning. It is a place of arrival without destination. Yet, embedded in this familiarity is a quiet tension: the rhythm of consumption mirrors the transient pace of those who pass through it. Quick, efficient, replaceable. A culture of immediacy—mirroring the itinerant lives of travelers who drift through, never fully staying.  There is a tenderness in this contradiction. Everyone loves 7/11. Not despite its uniformity, but because of it. It offers consistency in a landscape of movement. But that same consistency flattens difference, turning moments into transactions, encounters into routines.  This photograph captures that ambivalence. The saturated red hue—produced by pre-souped Kodak Gold 200 film—bathes the scene in a sense of heat and nostalgia, as if the image itself is dissolving under the weight of time and repetition. The familiar green-orange stripes are still visible, but altered, almost overwhelmed. What remains is an atmosphere: dense, fleeting, and slightly melancholic.  A place where everyone meets—yet no one stays. | analogbysissi]]></media:title>
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            <media:description><![CDATA[Explora más de las increíbles obras de analogbysissi en cizucu.]]></media:description>
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