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          <atom:updated>2026-05-03T17:52:33+09:00</atom:updated>
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          <title><![CDATA[這張照片拍攝於法國巴黎蒙馬特高地，靠近聖心堂的一處斜坡。現場的建築其實是筆直佇立的，但透過地勢與取景角度的轉換，畫面呈現出傾斜的視覺效果，形成介於真實與錯覺之間的感知。  我在按下快門的當下，意識到我們所看見的，往往並不完全等同於事物本身。視角的改變，可以重新定義現實的樣貌。  這張照片拍攝於我前往日本生活之前的一段獨自旅行之中。對我而言，那是一段帶著不確定與期待的過渡時期，也是面對未知的練習。  或許就像這個畫面一樣，世界並不總是穩定而確定的，但也正因如此，我們得以在其中找到新的觀看方式與前進的方向。  この写真は、パリ・モンマルトルの坂道で撮影したものです。本来まっすぐな建物が、視点と地形によって傾いて見えています。  見えているものが、そのままの現実とは限らない。視点が変わるだけで、世界のかたちは大きく変わると感じました。  日本での生活を始める前、一人で旅をしていたときの一枚です。不安と期待のあいだで踏み出した、小さな一歩でもありました。  This photograph was taken on a hillside in Montmartre, Paris. Although the building stands upright in reality, it appears tilted through the angle of view and terrain.  It reminded me that what we see is not always the reality itself. A shift in perspective can completely transform how the world appears.  I took this photo while traveling alone, just before starting a new chapter of my life in Japan. It reflects a small step I took between uncertainty and anticipation. | Sherry]]></title>
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          <description><![CDATA[Lihat lebih banyak karya luar biasa dari Sherry di cizucu.]]></description>
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          <pubDate>Sat, 04 Apr 2026 22:20:56 GMT</pubDate>
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            <media:description><![CDATA[Lihat lebih banyak karya luar biasa dari Sherry di cizucu.]]></media:description>
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          <title><![CDATA[取り壊しを待つ古い団地　#団地 #廃墟 #昭和 #レトロ | ばつまる]]></title>
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          <description><![CDATA[Lihat lebih banyak karya luar biasa dari ばつまる di cizucu.]]></description>
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          <pubDate>Mon, 12 May 2025 17:35:36 GMT</pubDate>
          <atom:updated>2026-01-18T15:23:01+09:00</atom:updated>
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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/id/photos/T23GHpu4jeBibaaVi8wS</link>
          <description><![CDATA[Lihat lebih banyak karya luar biasa dari analogbysissi di 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[Lihat lebih banyak karya luar biasa dari analogbysissi di cizucu.]]></media:description>
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