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(ink on paper) --- --- Ruth Aiko Asawa (January 24, 1926 – August 5, 2013) was an American modernist artist known primarily for her abstract looped-wire sculptures inspired by natural and organic forms. In addition to her three-dimensional work, Asawa created an extensive body of works on paper, including abstract and figurative drawings and prints influenced by nature, particularly flowers and plants, and her immediate surroundings.
(Wikipedia)
Styrum was an immediate lordship in the Holy Roman Empire, located in Mülheim an der Ruhr, North Rhine-Westphalia, Germany. It held no seat in the Diet and was circumvened by the lordship of Broich.
The exact date of construction of its castle is unknown. Styrum was already prosperous in Frankish times before Charlemagne (late 8th century). In 1067 Styrum was given to the Abbacy of Kaiserswerth. After the murder of the Archbishop of Cologne, Engelbert of Berg, in 1225, the descendants of Frederick I of Isenberg gained ownership of Mülheim an der Ruhr and thereby of the castle as Lords of Styrum and took up residence. Here they founded the line of Counts of Limburg Styrum, a family that would later obtain important estates in Westphalia and the Lower Rhine. With the partition of the House of Limburg Styrum in 1644, Styrum passed to the line of Limburg-Styrum-Styrum.
Styrum was rebuilt in Baroque style in 1668, and it received its present form after a fire in 1738. In the mediatisation of 1806, Styrum came under control of the Grand Duchy of Berg. The line of Limburg-Styrum-Styrum became extinct in 1809. The last count of the Styrum branch of the family, Ernst Maria Johan (deceased on 23 March 1809) in his will of 29 January 1808 donated Styrum to the sister of his wife: Maria Margaretha von Humbracht, who sold it in 1825.
Styrum was purchased by the German industrialist August Thyssen in 1890. His company gave the castle to the city of Mülheim in 1960. It was transformed into a restaurant, artist studio and community centre for the elderly in 1992.
Mit dem aufblühenden Handel seit Ende des Mittelalters war die Bevölkerung der alten Reichsstadt Augsburg stetig angestiegen. Um das Jahr 1600 wohnten im Stadtgebiet bereits 16.000 Menschen, die umgebenden Stadtmauern hatten zu dieser Zeit bereits mehrfach erweitert werden müssen. Um die Versorgung der Bevölkerung mit Fleischwaren sicherzustellen, beschloss der Rat der Stadt Anfang des 17. Jahrhunderts den Bau einer zentralen Schlachterei zur Verteilung des Fleisches an die Metzger der Stadt. Zwar gab es bereits zuvor eine solche „Stadtmetzg“, doch deren Kapazität reichte nicht mehr, um die verarbeiteten Waren ordnungsgemäß und hygienisch zu lagern.
Auf der Suche nach einem geeigneten Standort für das Bauwerk entschied sich der damalige Stadtbaumeister Elias Holl für das Lechviertel, wo er ideale Bedingungen für eine Zentralschlachterei vorfand: das Gelände lag inmitten der Stadt und war durchzogen von Lechkanälen, die sowohl die Wasser- und Energieversorgung als auch die Abfallbeseitigung sicherstellen konnten.
Schon bei den Planungen war Elias Holl mit einiger Raffinesse vorgegangen. Das prächtige vierstöckige Gebäude mit dem schmalen Giebel sollte der bis dahin modernste Bau der Fleischerzunft werden. Der Vordere Lech, einer der Lechkanäle, wurde offen unter das Schlachthaus geleitet, was einerseits eine ausreichende Kühlung der Fleischwaren ermöglichte, andererseits den Metzgern erlaubte, Abfälle von der Schlachtbank direkt in den Kanal zu entsorgen.
Nach dreijähriger Bauzeit wurde die neue Stadtmetzg im Jahre 1609 eröffnet. An der Fassadengestaltung der südlichen Giebelfront des dreigeschossigen Satteldachbaus dürfte Johann Matthias Kager mitgewirkt haben. Im unteren Bereich waren 126 Fleischbänke als Verkaufsstände untergebracht, der obere Bereich enthielt Zunft- und Amtsstuben. An der Hauptfassade zierte ein von Hans Reichle geschaffenes und von Wolfgang Neidhardt gegossenes bronzenes Stadtwappen das Bauwerk.
In der Stadtmetzg selbst wurde nicht geschlachtet, sondern in unmittelbarer Nähe ein Schlachthaus errichtet. Heute wird der Bau als Verwaltungsgebäude genutzt.
Quelle: Wikipedia.de
With the flourishing trade since the end of the Middle Ages, the population of the old imperial city of Augsburg had risen steadily. Around the year 1600, 16,000 people were already living in the city area. The surrounding city walls had already had to be extended several times at that time. To ensure the supply of meat products to the population, the city council decided at the beginning of the 17th century to build a central slaughterhouse to distribute the meat to the city's butchers. Although such a " city butchery " had already existed before, its capacity was no longer sufficient to store the processed goods properly and hygienically.
In his search for a suitable location for the building, the then town architect Elias Holl decided on the Lech quarter, where he found ideal conditions for a central slaughterhouse: the site was located in the middle of the city and was criss-crossed by Lech canals, which provided water and energy supplies as well as waste disposal.Elias Holl had already proceeded with some finesse during the planning. The magnificent four-storey building with its narrow gable was to become the most modern building of the butchers' guild to date. The Front Lech, one of the Lech canals, was led openly under the slaughterhouse, which on the one hand enabled sufficient cooling of the meat products, and on the other hand allowed butchers to dispose of waste from the slaughterhouse directly into the canal. After three years of construction, the new Municipal Butchery was completed. Elias Holl had already proceeded with some finesse during the planning. The magnificent four-storey building with its narrow gable was to become the most modern building of the butchers' guild to date. The Front Lech, one of the Lech canals, was led openly under the slaughterhouse, which on the one hand enabled sufficient cooling of the meat products, and on the other hand allowed butchers to dispose of waste from the slaughterhouse directly into the canal.
After three years of construction, the new Municipal Butchery was opened in 1609. Johann Matthias Kager may have been involved in the façade design of the southern gable front of the three-storey gable roof building. The lower section housed 126 butcher's shops as sales stands, the upper section contained guild and office rooms. The main façade was decorated with a bronze coat of arms created by Hans Reichle and cast by Wolfgang Neidhardt.
In the Stadtmetzg itself, there was no slaughter, but a slaughterhouse was built in the immediate vicinity, which is now used as an administrative building.
Source: Wikipedia.de
immediate post concert scene
Custom House Square Belfast after the Texas concert
It doesnt stay like this for more than a few minutes because the bar staff descend with plastic bags to pick up the rubbish and then the whole place gets hosed down.
Interesting to watch from above and to get a few photos too.
Micanopy is a town in Alachua County, Florida, United States, located south of Gainesville. The population as of the 2010 census was 600. The town center is designated as a historic district, listed on the National Register of Historic Places. It contains a number of antique stores, as well as several restaurants. It is also known for being the filming location of the 1991 romantic comedy, Doc Hollywood.
In 1539 Spanish conquistador and explorer Hernando De Soto noted a Timucuan Indian village here. Over two hundred years later, the American naturalist William Bartram recorded his impressions of a proto-Seminole village named Cuscowilla in this same locale.
By the time Spain ceded its Florida provinces to the U.S. in 1821, the newly constructed hamlet of Micanopy became the first distinct United States town in the Florida Territory. One of the founders was Moses Elias Levy, a wealthy businessman and philanthropist who was involved in West Indies shipping and other interests. He immigrated to the United States in 1820.
Named after a Seminole chief, the village of Micanopy was built under the auspices of the Florida Association of New York (the earliest Florida development corporation, headquartered in Manhattan). Chief Micanopy lived about 60 miles (97 km) south in present-day Sumter County. In 1821 when the territorial village was developed, a faction of Miccosukee Indians lived in the immediate area. The historian C. S. Monaco has suggested that the town was named after Micanopy "to appease the chief and acknowledge his original authority over the land."
Both Fort Defiance (1835–1836) and Fort Micanopy (1837–1843) were located here during the Second Seminole War. Some of the bloodiest battles of that war took place along the road southwest from Fort Micanopy to Fort Wacahoota, just inside modern Alachua County. A recent archaeological study has verified both forts as well as the location of two battlefields within the town limits: the Battle of Micanopy and the Battle of Welika Pond (1836).
Micanopy's historic district was listed on the National Register of Historic Places in 1983. The home of Marjorie Kinnan Rawlings, where she wrote The Yearling and Cross Creek, is in nearby Cross Creek. The house is operated as a museum.
For an article on Micanopy from the Florida Historical Society see: preservation.myfloridahistory.org/micanopy-fl/
Credit for the data above is given to the following websites:
en.wikipedia.org/wiki/Micanopy,_Florida
www.acpafl.org/ParcelResults.asp?Parcel=16854-018-000
© All Rights Reserved - you may not use this image in any form without my prior permission.
Top Model Rachel Wallace braves the weather in the pit lane at the Cannonball 2013, Mondello Park, Kildare.
Nikon D-800, Nikkor 28-300mm f/3.5-5.6 IF-ED-VR-2 (FX), Nikon SB-910 Speedlight. 85mm, f5.0, 1/100 sec.
Please note:
These images are not public domain and are protected by copyright law.
All images © MSI (Motorsport Images Ireland) 2015. All rights reserved.
COPYRIGHT: The copyright and intellectual property rights of this image is owned by MSI (Ireland), and is protected by copyright laws of Ireland and international intellectual property right treaties. You may not copy any portion of the images in any form whatsoever. You may not alter the images in any way.
UNAUTHORISED USE: You may not use, copy, rent, lease, sell, claim ownership, publish to a website, blog or other such electronic hosting medium, modify, decompile, disassemble, otherwise reverse engineer, or transfer images in any form whatsoever whether electronically, mechanically or any other method. Any such unauthorised use shall result in immediate and automatic termination of this license and may result in civil and/or legal action against you/your company or representative.
If you are interested in the use of this digital photographic image, please contact us via e-mail at msiireland@yahoo.com or motorsportimagesireland@gmail.com
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Photography by JOB/MSI Ireland
© MSI Ireland 2015
All Rights Reserved
2015法國PX3國際攝影比賽
廣告類 第三名
Non-Professional (Advertising/Beauty)
Third Prize
FOR IMMEDIATE RELEASE:
WINNER OF PX3, Prix de la Photographie Paris
ja-shang Tang of Taiwan was Awarded Third Prize in the PX3 2015 Competition.
Paris, France
Prix de la Photographie Paris (Px3) announces winners of PX3 2015 competition.
ja-shang Tang of Taiwan was Awarded: Third Prize in category Advertising for the entry entitled, " Camera Girl ." The jury selected PX3 2015’s winners from thousands of photography entries from over 85 countries.
Px3 is juried by top international decision-makers in the photography industry: Carol Johnson, Curator of Photography of Library of Congress, Washington D.C.; Gilles Raynaldy, Director of Purpose, Paris; Viviene Esders, Expert près la Cour d'Appel de Paris; Mark Heflin, Director of American Illustration + American Photography, New York; Sara Rumens, Lifestyle Photo Editor of Grazia Magazine, London; Françoise Paviot, Director of Galerie Françoise Paviot, Paris; Chrisitine Ollier, Art Director of Filles du Calvaire, Paris; Natalie Johnson, Features Editor of Digital Photographer Magazine, London; Natalie Belayche, Director of Visual Delight, Paris; Kenan Aktulun, VP/Creative Director of Digitas, New York; Chiara Mariani, Photo Editor of Corriere della Sera Magazine, Italy; Arnaud Adida, Director of Acte 2 Gallery/Agency, Paris; Jeannette Mariani, Director of 13 Sévigné Gallery, Paris; Bernard Utudjian, Director of Galerie Polaris, Paris; Agnès Voltz, Director of Chambre Avec Vues, Paris; and Alice Gabriner, World Picture Editor of Time Magazine, New York.
ABOUT Px3:
The "Prix de la Photographie Paris" (Px3) strives to promote the appreciation of photography, to discover emerging talent, and introduce photographers from around the world to the artistic community of Paris. Winning photographs from this competition are exhibited in a high-profile gallery in Paris and published in the high-quality, full-color Px3 Annual Book.
Visit px3.fr
For Press Inquiries, Contact:
Press@px3.fr
About the Winner:
Contact ja-shang Tang:
jashang1975@gmail.com
Punta Gorda is a city in Charlotte County, Florida, United States. As of the 2010 census the city had a population of 16,641. It is the county seat of Charlotte County and the only incorporated municipality in the county. Punta Gorda is the principal city of the Punta Gorda, Florida Metropolitan Statistical Area and is also in the Sarasota-Bradenton-Punta Gorda Combined Statistical Area.
Punta Gorda was the scene of massive destruction after Charley, a Category 4 hurricane, came through the city on August 13, 2004. Charley was the strongest tropical system to hit Florida since Hurricane Andrew in 1992, and the first hurricane since Hurricane Donna in 1960 to make a direct hit on Florida's southwest coast. In the immediate years following the storm, buildings were restored or built to hurricane-resistant building codes. The new buildings, restorations and amenities concurrently preserved the city's past while showcasing newer facilities. During this time, Laishley Park Municipal Marina was built and the Harborwalk, Linear Park and various trails were created throughout the city for bicycle and pedestrian traffic.
The name Punta Gorda ("Fat Point") has been on maps at least since 1851, referring to a point of land that juts into Charlotte Harbor, an estuary off the Gulf of Mexico. It was in the late 1800s that early settlers began to arrive in what is the present-day Punta Gorda area.
Frederick and Jarvis Howard, Union Army veterans, homesteaded an area south of the Peace River near present-day Punta Gorda about a decade after the close of the Civil War. In 1876, James and Josephine Lockhart bought land and built a house on property which is now at the center of the city. Approximately two years later Lockhart sold his claim to James Madison Lanier, a hunter and trapper.
In 1879, a charter for a railroad with termini at Charlotte Harbor and Lake City, Florida was established under the name Gainesville, Ocala, and Charlotte Harbor Railroad. It was taken over by the Florida Southern Railroad, which reaffirmed Charlotte Harbor as a terminus in its own charter. Lanier with his wife lived there until 1883, when 30.8 acres (12.5 ha) were sold to Isaac Trabue, who purchased additional land along the harbor and directed the platting of a town (by Kelly B. Harvey) named "Trabue". Harvey recorded the plat on February 24, 1885. At the time, Isaac was in Kentucky, and his cousin, John Trabue, was in charge of selling lots. Kelly, a native of the Peace River area, started referring to the new town as Punta Gorda. He later explained that the Spaniards called the area Punta Gorda, and local businesses included Punta gorda within their companies' names.
Less than ten years after the first settlements in the area, railroads rolled into the town of Trabue in June 1886, and with them came the first land developers and Southwest Florida's first batch of tourists. Punta Gorda became the southernmost stop on the Florida Southern Railroad, until an extension was built to Fort Myers in 1904, attracting the industries that propelled its initial growth.
In 1887, twelve years after the first settlers trekked to Charlotte Harbor, 34 met at Hector's Billiard Parlor to discuss incorporation. Once Punta Gorda was officially incorporated, mayoral elections took place and a council was formed. The first mayor, W. H. Simmons, was elected. The new city was renamed Punta Gorda.
Phosphate was discovered on the banks of the Peace River just above Punta Gorda in 1888. Phosphate mined in the Peace River Valley was barged down the Peace River to Punta Gorda and Port Boca Grande, where it was loaded onto vessels for worldwide shipment. In 1896, the Florida Times-Union reported that phosphate mining was Punta Gorda's chief industry and that Punta Gorda was the greatest phosphate shipping point in the world. By 1907, a railroad was built direct to Port Boca Grande, ending the brief phosphate shipping boom from Punta Gorda.
In 1890, the first postmaster, Robert Meacham, an African American, was appointed by Isaac Trabue as a deliberate affront to Kelly B. Harvey and those who had voted to change the name of the town from Trabue to Punta Gorda.
The Punta Gorda Herald was founded by Robert Kirby Seward in 1893 and published weekly during its early years.The newspaper covered such events as rum running, other smuggling activities, and lawlessness in general. It underwent many changes in both ownership and name over time, and today is known as The Charlotte Sun Herald.
Early Punta Gorda greatly resembled the modern social climate of various classes living together and working together. While the regal Punta Gorda Hotel, at one point partly owned by Cornelius Vanderbilt, reflected the upper class, Punta Gorda was a pretty rough town, as most frontier towns were. Punta Gorda's location at the end of the railway line spiked the crime rate, resulting in approximately 40 murders between 1890 and 1904. This included City Marshal John H. Bowman, who was shot and killed in his front parlor on January 29, 1903, in view of his family.
In 1925, a bungalow was built by Joseph Blanchard, an African American sea captain and fisherman. The Blanchard House Museum still stands as a museum, providing education for the history of middle-class African American life in the area.
Punta Gorda in the 20th century still maintained steady growth. Charlotte County was formed in 1921 after DeSoto County was split. Also in 1921, the first bridge was constructed connecting Punta Gorda and Charlotte Harbor along the brand-new Tamiami Trail. This small bridge was replaced by the original Barron Collier Bridge in 1931, and then by the current Barron Collier Bridge and Gilchrist Bridge crossing the Peace River.
During World War II, a U.S. Army airfield was built in Punta Gorda to train combat air pilots. After the war, the airfield was turned over to Charlotte County.Today the old airfield is the Punta Gorda Airport, providing both commercial and general aviation.
Punta Gorda's next intense growth phase started in 1959 with the creation of a neighborhood of canal-front home sites, Punta Gorda Isles, by a trio of entrepreneurs, Al Johns, Bud Cole and Sam Burchers. They laid out 55 miles of canals 100 feet wide and 17 feet deep using dredged sand to raise the level of the canal front land. This provided dry home sites with access to the Charlotte Harbor and the Gulf of Mexico. Johns went on to develop several other communities in Punta Gorda, among which were Burnt Store Isles, another waterfront community with golf course, and Seminole Lakes, a golf course community. These communities provided waterfront or golf course homes for retirees with access to a downtown with shopping, restaurants, and parks.
In the early 1980s at the site of the old Maud Street Fishing Docks, a new shopping, restaurant and marina complex, Fishermen's Village, was constructed that continues to be one of Southwest Florida's primary attractions.
In 2004, a major hurricane, Hurricane Charley, moved through Punta Gorda, damaging many buildings, but also creating an opportunity for revitalization of both the historic downtown and the waterfront. During the first part of the twenty-first century, Punta Gorda has continued to grow and improve, adding a new Harborwalk which continues to expand, a linear park which winds through the city, many new restaurants, and neighborhoods.
A replica of the Vietnam Veterans Memorial was dedicated on November 5, 2016. The city also features the Whispering Giant statue, a public art sculpture of the face of a Native American man and a Native American woman.
Credit for the data above is given to the following website:
my immediate work neighborhood always has a lot of lights on the trees, which they leave up well after the holidays. it's so nice on a dark january evening to still have their soft glow. but usually by the beginning of february they stop turning them on &/or cut them off of the trees. looks to be that time this week.
the good thing is, that this means it's almost still light out when i get out of work. the days are only getting longer from here. hooray!
Sunrise Lake Michigan. South Shore Park, Bay View, Milwaukee Wisconsin, USA. Another brisk, bright Wisconsin morning on the Lake. 2 degrees!
BEST VIEWED ON BLACK...Just click the image again!
These ruins are easily one of the most incredible man & nature locations I have had the privilege of photographing. This is partly due to the immediate sense of peace and quiet that comes over you as you sit here viewing the majestic scenery of Canyonlands spread out before you. A large part is also due to how your thoughts naturally shift to the origin of such an amazing Indian spot. It is easy to see why this spot was picked by the Native Americans for this purpose, but how they first discovered it is beyond me.
Unless you know exactly where this is located at and how to get there, you wouldn't have a clue it even exists. Even from 30 feet away from the location you have no indication that a cave structure like this exists on the side of the cliff face, and you would walk right by it without even knowing it. Makes you wonder if some poor soul trying to find shelter from a storm and predators found this location by accident.
Despite the location being a class II site that doesn't exist on any of the maps, it is drawing more and more tourists and photographers. If you do happen to go here at some point, please have respect for the natural site. I saw footprints all over on areas that are chained off, which is not acceptable. Also please be careful about where you stand, as a lot of the rocks, even on the back wall are a historic part of the site. Please respect these locations, so that they last through the ages and are places for others to enjoy in the future.
Thanks for viewing and I always appreciate your comments and critique.
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Tech Info:
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Canon 5D mark II
Canon 16-35L lens @25mm
Without a doubt the most complicated hand blend I have done to date. I still need to spend some time on this one, but since it is not going to print right away, I am not stressing over it. This is a hand blend of 3 images for maximum dynamic range.
Base image 2 sec @ F16
ISO 100
Singh-Ray LB Warming Polarizer (This filter does an incredible job on enhancing the glow from the last rays of sun on the cliffs)
RAW files processed in Lightroom 3
TIFF files hand blended and processed with Photoshop CS4
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Visit my profile for links to my website.
kalanchoe blossfeldiana - also called Florist Kalanchoe.
I ordered a bag of plants from WholeFoods with a recent food curbside delivery. This is what I got! I planned to use this flowering plant outside, now I think I am fine with keeping it inside. I think I will order seeds for outside!
Immediate fleet sisters 206 + 207 are now on the X1 service. This is because we now have 213 on the 557, allowing 207 to come off it. This will also give the loaned red Metrobus from Robson's time off on the heavy X1 service, which it has been running with 206 for a little while now.
In the immediate vicinity of the centre of Amsterdam is a neighbourhood where tourists rarely come. Houses over 300 years old, bridges, warehouses, etc. all from 1650 to 1700, and in a great condition.
This is the place where, in the golden age of trade, merchandise and spices from all over the world were traded and stored.
Most boats in the Canals are for living, not for recreation.
The stunning twin sisters in their Rizla promo outfits had the undivided attention of all the lads in the paddock! The super sexy grid girls were at the British Super Bikes, Mondello Park, Co. Kildare.
Nikon D-200, Nikkor 70-300mm f3.5/5.6.
Please note:
These images are not public domain and are protected by copyright law.
All images © MSI (Motorsport Images Ireland) 2016. All rights reserved.
COPYRIGHT: The copyright and intellectual property rights of this image is owned by MSI (Ireland), and is protected by copyright laws of Ireland and international intellectual property right treaties. You may not copy any portion of the images in any form whatsoever. You may not alter the images in any way.
UNAUTHORISED USE: You may not use, copy, rent, lease, sell, claim ownership, publish to a website, blog or other such electronic hosting medium, modify, decompile, disassemble, otherwise reverse engineer, or transfer images in any form whatsoever whether electronically, mechanically or any other method. Any such unauthorized use shall result in immediate and automatic termination of this license and may result in civil and/or legal action against you/your company or representative.
If you are interested in the use of this digital photographic image, please contact us via e-mail at msiireland@yahoo.com or motorsportimagesireland@gmail.com
......................................................................................................................
Photography by JOB/MSI Ireland
© MSI Ireland 2016
All Rights Reserved
Modern Reykjavík
In the immediate post-war years, Reykjavík was rather like an overgrown village. People in the prime of life poured into the town, and it became a city of children. Iceland was still relatively isolated from the outside world, and few foreigners visited the country. But Icelanders were beginning to compete internationally in sports, and in the postwar years they did well in athletics.
After World War II, modernism finally arrived in Iceland. The National Theatre opened its doors in 1950, and that same year the Iceland Symphony Orchestra was founded. Artists exhibited their works mainly in Listamannaskálinn, an exhibition hall adjacent to Parliament House.
The 1960s were a boom time for Reykjavík, which grew as never before. Private cars became commonplace, and various electrical appliances made housework easier. Charter flights to southern Europe became popular, and with rising prosperity a separate youth culture came into being in Reykjavík.
At this time the Loftleiðir airline started offering cheap transatlantic travel including a stopover in Iceland. Iceland was less cut-off from the outside world, and growing numbers of foreigners, including well-known artists, made their way to Iceland. Large modern hotels were built.
Arts festivals, held every other year since 1970, played an important role in Reykjavík's flourishing cultural life. It was no longer news when world-famous people visited Reykjavík. Icelanders too were travelling abroad, for fun and for education, and this helped overcome Iceland's historic isolation. International cuisine made its mark on the town's restaurants. In the 1990s finance and foreign exchange was deregulated, and the computer revolution opened up new possibilities. Reykjavík lost some of its unique, rather villagey atmosphere. Beer was legalised after decades (the last remnant of Prohibition from the early 20th century). The downtown district was gradually taken over by pubs and other nightlife, while Laugavegur and the Kringlan mall were the major shopping districts. Dogs, banned for decades, were once more allowed in the city.
Reykjavík's international status was highlighted by a superpower summit in 1986 at Höfði House, the reception house of the City of Reykjavík - a meeting that heralded the beginning of the end of the Cold War.
During the last decade of the 20th century, Reykjavík drew increasing international attention. Growing interest in Iceland was not least due to pop star Björk, a Reykjavík girl born and bred. And as if to underline Reykjavík's international role, it was chosen one of nine European Cities of Culture for the millennium year 2000.
My wife and her immediate family. Such an amazing group of folks, and always the biggest proponents of Christmas and all things holiday season ever! Merry Christmas Eve :)
On a technical note, I must learn more about using a flash. I've historically let the camera do the thinking for me when it comes to using them, but I definitely had to fight the 6400 ISO with this one. Sounds like a good 2023 learning opportunity!
FOR IMMEDIATE RELEASE: December 1, 2021
Contact: TFL Management (thefashionloft)
The Fashion Loft Invites You to Celebrate the End of 2021
On December 11, The Fashion Loft will host its fifth annual Holiday Event in Second Life. The event is created to show appreciation for the creators who have supported TFL this year, as well as a way to promote mainstore shopping.
Using a HUD, shoppers will be able to teleport to participating stores. Once there, they will find items for sale for L$99, and hunt items for L$1.
To kick things off, The Fashion Loft will host an Opening Day party at TFL Headquarters on Saturday, December 11 from 2-4 PM SLT.
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About The Fashion Loft
The Fashion Loft prides itself on being a home for bloggers, content creators, fashionistas, models, and photographers. Since 2016, TFL has provided events, shows, contests, and other activities that brings the fashion community together.
Inworld: maps.secondlife.com/secondlife/Isle%20of%20Creation/160/2...
Website: thefashionloftofsl.wordpress.com/
Facebook: www.facebook.com/thefashionloftsl/
Flickr: www.flickr.com/groups/thefashionloftsl/
Twitter: twitter.com/TFL_SL
Discord: discord.gg/SrZAhhz
By way of immediate action, a stand must first be made against thought, against mental processes. "I do not know" - it is said - "anything which, when unbridled, uncontrolled, unwatched, untamed, brings such ruin as thought, and I do not know anything which, when bridled, controlled, watched, tamed, brings such benefits as thought."
Thought, which everyone lightly says is "mine," is, in reality, only to a very small degree in our power. In the majority of cases, instead of "to think" it would be correct to say "we are thought" or "thought takes place in me." In the normal way, the characteristic of thought is its instability. "Incorporeal" - it is said - "it walks by itself": it "runs hither and thither like an untamed bull." Hard to check, unstable, it runs where it pleases. In general, it is said that, while this body may persist one year, two years, three years or even up to a hundred years and more in its present form, "what we call thought, what we call mind, what we call consciousness arises in one manner, ceases in another; incessantly, night and day"; "it is like a monkey who goes through the forest, and who progresses by seizing one branch, letting go of it, taking hold of another, and so on."
The task is to "arrest" thought: to master it and to strengthen the attention; to be able then to say: "Once this thought wandered at its fancy, at its pleasure, as it liked: I today shall hold it completely bridled, as a mahout holds a rut-elephant with his goad."
A few explanations.
If one day normal conditions were to return, few civilizations would seem as odd as the present one, in which every form of power and dominion over material things is sought, while mastery over one's own mind, one's own emotions and psychic life in general is entirely overlooked. For this reason, many of our contemporaries - particularly our so-called "men of action" - really resemble those crustaceans that are as hard-shelled outside with scabrous incrustations as they are soft and spineless within. It is true that many achievements of modern civilization have been made possible by methodically applied and rigorously controlled thought. This, however, does not alter the fact that most of the "private" mental life of every average and more-than-average man develops today in that passive manner of thought that, as the Buddhist text we have just quoted strikingly puts it, "walks by itself," while, half-unconscious, we look on. Anyone can convince himself of this by trying to observe what goes on in his mind, for example, when leaving his house: he thinks of why he is going out but, at the door, his thoughts turn to the postman and thence to a certain friend from whom news is awaited, to the news itself, to the foreign country where his friend lives and which, in turn, makes him remember that he must do something about his own passport: but his eye notices a passing woman and starts a fresh train of thought, which again changes when he sees an advertisement, and these thoughts are replaced by the various feelings and associations that chase each other during a ride through the town. His thought has moved exactly like a monkey that jumps from branch to branch, without even keep-ing a fixed direction. Let us try, after a quarter of an hour, to remember what we have thought - or, rather, what has been thought in us - and we shall see how diffi¬cult it is. This means that in all these processes and disordered associations our consciousness has been dazed or "absent." Having seen this, let us undertake to follow, without disturbing them, the various mental associations. After only a minute or two we shall find ourselves distracted by a flood of thoughts that have invaded us and that are quite out of control. Thought does not like being watched, does not like being seen. Now this irrational and parasitical development of thought takes up a large part of our normal psychic life, and produces corresponding areas of reduced activity and of reduced self-presence. The state of passivity is accentuated when our thought is no longer merely "spontaneous" and when the mind is agitated by some emotion, some worry, hope, or fear. The degree of consciousness is certainly greater in these cases - but so, at the same time, is that of our passivity.
These considerations may throw some light on the task that is set when one "ceases to go"; one reacts, one aims at being the master in the world of one's own mind. It now seems quite incomprehensible that nearly all men have long since been accustomed to consider as normal and natural this state of irrationality and passivity, where thought goes where it will - instead of being an instrument that enters into action only when necessary and in the required direction, just as we can speak when we wish to, and with a purpose, and otherwise remain silent. In comprehending this "according to reality," we must each decide whether we will continue to put up with this state of affairs.
In its fluid, changeable and inconsistent character, normal thought reflects, moreover, the general law of samsāric consciousness. This is why mental control is consid¬ered as the first urgent measure to be taken by one who opposes the "current." In un¬dertaking this task, however, we must not be under any illusions. The dynamis, the subtle force that determines and carries our trains of thought, works from the subconscious. For this reason, to attempt to dominate the thought completely by means of the will, which is bound to thought itself, would almost be like trying to cut air with a sword or to drown an echo by raising the voice. The doctrine, which declares that thought is located in the "cavern of the heart," refers, among other things, to thought considered "organically" and not to its mental and psychological offshoots. Mastery of thought cannot, therefore, be merely the object of a form of mental gymnastics: rather, one must, simultaneously, proceed to an act of conversion of the will and of the spirit; inte¬rior calm must be created, and one must be pervaded by intimate, sincere earnestness.
The "fluttering" of thought mentioned in our text is more than a mere simile: it is related to the primordial anguish, to the dark substratum of samsāric life that comes out and reacts since, as soon as it feels that it is seen, it becomes aware of the danger; the condition of passivity and unconsciousness is essential for the development of samsāric being and for the establishment of its existence. This simile illustrates an experience that, in one form or another, is even encountered on the ascetic path.
The discipline of constant control of the thought, with the elimination of its automatic forms, gradually achieves what in the texts is called appamada, a term variously translated as "attention," "earnestness," "vigilance," "diligence," or "reflection." It is, in point of fact, the opposite state to that of "letting oneself think," it is the first form of entry into oneself, of an earnestness and of a fervid, austere concentration. When it is understood in this sense, appamāda constitutes the base of every virtue. It is also said: "This intensive earnestness is the path that leads toward the deathless, in the same way that unreflective thought leads, instead, to death. He who possesses that earnestness does not die, while those who have unstable thought are as if already dead." An ascetic "who delights in appamāda - in this austere concentration - and who guards against mental laxity, will advance like a fire, burning every bond, both great and small." He "cannot err." And when, thanks to this energy, all negligence is gone and he is calm, from his heights of wisdom he will look down on vain and agitated beings, "as one who lives on a mountaintop looks down on those who live in the plains."
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excerpt from The Doctrine of Awakening by Julius Evola
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painting by Blake
An immediate reaction to this shot may be why is the tip of the Imagination building cut off. The answer to that is because immediately just out of frame is the monorail beam. With that in mind I really liked this angle shooting the imagination building with these multi-colored flowers in the foreground and ultimately framed it so the cut off feels intentional and not awkward. Whether or not I succeeded is up for debate but I wanted to share it anyway.
On Saturday 12 November, Egyptian activists from all across the UK joined up with protesters in London demonstrating for climate justice, to demand an end to Sisi's murderous dictatorship and the immediate release of Alaa Abd El-Fattah, a British-Egyptian citizen on hunger strike, and at least 60,000 other political prisoners held in appalling conditions in Egyptian prisons.
As COP27 continues, Sisi's government intensifies its repression against civil society, arresting anyone in Cairo and other cities found with any mention of Alaa or other political dissidents on their phones, as well as targeting anyone suspected of planning strikes or protests.
I'm still working on individual captions for each photo - sorry for the delay - but in the meantime I'm reposting an earlier commentary I posted about Alaa Abd El-Fattah.
Last weekend on Sunday 6 November, activists gathered outside Downing Street for a candle-lit vigil as British-Egyptian democracy dissident, Alaa Abd El-Fattah, escalated his hunger strike in an Egyptian prison, refusing to take water.
Even prior to his refusal of water from Saturday 6 November, Alaa was already over 200 days into his 100 calorie a day hunger strike in prison in Egypt.
On Tuesday 8 November Sanaa Seif gave a speech to journalists at COP27 - "They are very happy for him to die. The only thing they care about is that it doesn't happen while the world is watching."
www.youtube.com/watch?v=BqXibJ7PUTY
Alaa Abd El-Fattah has endured much of the last twelve years in some of the worst prison conditions anywhere in the world, on account of his brave work in promoting democracy in Egypt.
He was last arrested in September 2019 while attending Cairo's Dokki Police Station and in December last year was sentenced to five years imprisonment for "spreading false news undermining state security." More precisely, he had shared social media posts explaining the hell-hole reality of Egyptian prison conditions.
TORA PRISON - "A DAY HERE, IS LIKE A YEAR IN BELMARSH"
In April, Alaa began his hunger strike in a cell in one of the most secure sections of Cairo's sprawling and notorious Tora Prison - a maze of grim high concrete walls and watch towers, which strike fear into even the thousands of commuters who have to pass daily.
In 2012, one young Londoner confined to one of the least uncomfortable and most survivable wings of Tora prison, contrasted it with his own previous experience at Britain's high security Belmarsh. I can never forget his exact words. "A day here, is like a year at Belmarsh!" A little over 12 months later, he died of TB - the prison authorities had refused to listen to the pleas of his aunt, who fell on her knees during a rare visit, begging that he be admitted to the prison hospital.
ALAA'S HUNGER STRIKE CONTINUES AT WADI EL NATRUN PRISON
More than 200 days have passed since Alaa started his hunger strike. He has now been moved to the Wadi El Natrun prison complex in the desert north of Cairo, dubbed by inmates as the "Valley of Hell."
He may not survive much longer. However, as he holds British-Egyptian nationality, one would hope that the British government would be doing everything they could to secure his immediate release and it would be reasonable to suppose that the Foreign Office could get an immediate pledge in this regard, especially given that the British companies, including the likes of British Petroleum and BP, are the biggest investors in Egypt.
NO CONSULAR ACCESS
However, the British government have failed even to get him any consular access - think about that. That's an outrage. Even a convicted mass murderer, if British, would be entitled to consular access while in prison. That meeting would obviously not take place in his cell - but in a designated room in the prison or the highly supervised prison visiting area.
British men and women convicted of drug smuggling and other crimes in Egypt have received consular visits, so why not Alaa? The answer is because Alaa's crime is that he dared to tell the truth about Egypt, and the injustice both inside and outside its many prison walls. Nobody knows exactly how many political prisoners Egypt now has, but the number is estimated to be at least 60,000.
ALAA WAS ONE OF THE LEADERS OF THE MOST INSPIRATIONAL DEMOCRATIC REVOLT THE WORLD HAS EVER SEEN
Alaa Abd El-Fattah was one of the leaders of arguably the most inspirational democratic revolt the world has seen in the last hundred years. Although the first phase of the 2011 uprising in Egypt lasted just 18 days, and although it followed the toppling of the dictator Ben Ali in Tunisia - the streets and bridges around Tahrir Square became a deadly stage watched by the world, where protesters from every walk of life were pitted against Egypt's feared state security forces. Against all the odds, and at the cost of many lives, Egyptians refused to leave the square, sleeping in front of the tanks and fending off attacks from government militia.
The Egyptian people's initial success in toppling the dictator Mubarak led to further revolts not just across the Middle East (most notably in Libya, Bahrain, Yemen and Syria) - the highly organised Tahrir-Square sit-in provided the inspiration for strikes and workplace sit-ins against austerity across the United States and Europe and to the Occupy Movement of the same year. The people of Egypt showed that it does not matter how brutal, feared and authoritarian a government is, it can be toppled if people act collectively.
THE MILITARY BACKLASH
It's true that Egypt's flirtation with the path to greater freedom seemed to be only temporary - the Egyptian authorities deployed the usual divide and rule tactics - encouraging the less committed protesters to return home - and then rushed to elections without allowing time for genuinely democratic opposition parties to develop.
Mohamed Morsi of the Muslim Brotherhood won the presidential election in 2012 - the Brotherhood (contrary to the perception many people have here in the West) had genuinely progressive elements within it, but the chance for any transformative radical programme was prevented partly by the corruption and self-interest of some of the main political actors and partly by opposition to its democratic mandate from the deep state (the military, the Interior Ministry, State Security, the police etc.)
The army, seeing its chance, seized power in 2013, superficially in the name of the people, but in reality, to advance the interests of the generals. The new president, Abdel Fattah El-Sissi, moved quickly to crush all opposition, and ordering his security forces to attack Muslim Brotherhood supporters who had gathered in eastern Cairo at Rabaa al-Adaweya Square, killing at least 800 people - the bloodiest massacre of civilians in Egypt's modern history.
DON'T ALLOW EGYPT TO USE COP27 TO GREENWASH ITS REGIME - AND PLEASE SIGN THE PETITION TO SAVE ALAA
Now COP27 is scheduled to take place in Sharm El-Sheikh and Sisi has been given a golden opportunity to greenwash his murderous regime, which has also seen ever increasing levels inequality and corruption. While British representatives at COP27 will be given accommodation in the most luxurious five star hotels in Sharm El-Sheikh and fall asleep listening to the sound of the waves, another British citizen, Alaa Abdel El-Fatah is near death, on a painful hunger strike in the darkest of places - his dimly lit cell. The only thing he might hear at night is the desperate cry from some prisoner in another cell appealing for medical help which most likely never comes.
If we care for freedom, real democracy and justice, we can't allow the British Foreign Office to forget Alaa - especially if it's simply not to upset the highly profitable relationship British multinationals have with one of the world's most authoritarian and corrupt regimes - a relationship which only benefits the wealthiest of Egyptians.
Please show your support by signing the petition. Let's not fail Alaa. Thank you.
www.change.org/p/help-free-my-brother-before-it-s-too-lat...
(BEST SEEN SUPERHEROICALLY LARGE)
STARK INDUSTRIES
AUSTRALIAN DIVISION
PRESS RELEASE
30.4.2008
FOR IMMEDIATE DISSEMINATION.
In 2008 Stark Industries stocks have soared as a result of favourable publicity generated by the release of the Iron Man Motion Picture.
S.I's Entertainment Division has determined that an effective way of processing additional windfall capital lies in the acquisition of relevant major properties, in this case, Luna Park, the famous Australian amusement park and iconic landmark.
Located on the foreshore of Melbourne's St. Kilda beach this beloved bayside attraction is now in the process of undergoing suitable upgrades to transform it into a first rate, world class Iron Man theme park.
S.I Australia's Chief Imagineer and Luna Stark Project Manager, Professor Rob Jan, has confirmed that the park will open its gates in time for the 2008/2009 summer holiday season.
Although Mr Stark's Executive Office has confided that the C.E.O will be unable to attend the opening ceremony due to scheduling conflicts (see attached PDF: Secret Skrull Invasion : Why DID We Install A $60 Million Corporate Security I.D System If It Can Be Infiltrated By Greenskinned, Corrugated Chinned, Shapeshifting Aliens Anyway?") it has been suggested that his movie stand-in, Mr Downey Junior, might be a reasonable celebrity substitute.
In this regard Professor Jan has announced that the slogan for the launch will be:
"Downey Down Under !!!"
This replaces his earlier draft proposal, "You Don't HAVE To Be A Lunatic To Enjoy Luna Stark, But It Wouldn't Hurt !!!"
Professor Jan is currently on sabbatical in a secure S.I corporate sanitarium and is unavailable for comment at this time. Please address all media related information and interview requests to the Stark Industries Melbourne Office.
Cordially Yours,
William Bodgie,
Public Relations Officer
Stark Industries
Melbourne Office
--------------------------------------------------------------------------------------------------------------------
My colleague, Rinaldo, takes some beaut pictures of Melbourne's Luna Park and inspired by his good example and the Iron Man movie I thought I'd have a go at some appropriate photoshop jiggerypokery. One Sunday arvo I wandered down to the old gel and snapped the reference plate upon which this modification is based, combining it later digitally with pictures of a couple of Iron Man action figures that I set up in my light diffusing tent. The best part of this project was changing the signage...heaps of fun!
Luna Park has been operating since 1912, find out more about it here:
en.wikipedia.org/wiki/Luna_Park,_Melbourne
Of course, I already have good reason to believe that Luna Park is a good place for metal clad folks to hang out.....
www.flickr.com/photos/83287853@N00/94300766/in/set-720575...
A little late for Christmas this year but in time for 2016, all the best everyone.
This appropriately wintery scene, taken 14th January 1985, is a nice archive shot of what Ladybridge Lane bridge in Bolton used to be like and ties in nicely with the previous uploads of the bridges demise.
Only days from withdrawal, and indeed close to the end of the 40s, period, 40079, also carrying her immediate pre-tops number 279 at this end, and proudly displaying the Royal Train disc headcode too! heads for Horwich Loco Works with a very thoughtfully arranged selection of LWB tube and pig-iron 4-wheelers which dont obscure the bridge behind.
How this scene has changed over the years. The quadruple tracks are reduced to three by this time and would further be reduced to two. The standard wooden railway fencing of the period in the foreground has long since gone, replaced by steel wire fencing, the much more substantial and longer-lasting sleeper-built fencing behind the train has just been replaced by a concrete post chain link fence, (witness the old sleepers scattered on the embankment) which itself has been recently been replaced on the Bolton side of the bridge by the horrible pallisade fencing, presumably the Preston side will follow in due course. The undergrowth, mainly nettles and brambles, and tree growth has advanced to such an extent that such a photo is hardly possible even if one could get close to the fence. But the hardest part to swallow is the demolition of the two closest arches and replacement by a single steel span as part of the encroaching electrifiation. Not immediately obvious is the fact that the original bridge was extended when the line was quadrupled. So sympathetically and tastefully was the extension executed that it was nigh on impossible to tell what was old or new without really close expert scrutiny. How Network Rail can be allowed to completely destroy such a unique and historical and nigh on 200 year-old bridge in such an idyllic location beside a nature trail and replace it with what they have done beggars belief. Those who are familiar really need to return and take a look.
Sorry for the poor quality of this one, Ive had several attempts at scanning and as for that stretch mark on the negative.....I may get this one professionally done and reupload it. Kodak 35mm film taken on my old Praktica camera, maybe the neg is not up to it. However, enjoy.
Extinction Rebellion activists carry a Salisbury banner across London's Hyde Park on the start of a march across central London.
Never has the issue of climate change been more urgent. The most recent IPCC (Intergovernmental Panel on Climate Change) report, published on 4 April, stated that drastic action was needed immediately in order to prevent a climate catastrophe that would mean millions becoming refugees and millions more suffering from malnutrition and famine.
This would require an immediate halt to any investment in or expansion of fossil fuel production. However, despite the stark warning, the UK government is determined to continue investment in North sea oil and gas, seemingly dedicated to accelerating climate change..
Professor Jim Skea, co-chair of the working group at the IPCC responsible for determining the best measures for mitigating climate change, declared "It's now or never, if we want to limit global warming to 1.5C. Without immediate and deep emissions reductions across all sectors, it will be impossible.'
On the weekend of 9 and 10 April, Extinction Rebellion climate change activists marched through central London, for two days of protests which included sit down blockades of Vauxhall and Lambeth bridges. On Lambeth Bridge a group of doctors and nurses refused to leave and were arrested by the police.
According to the group website Doctorsforxr.com, 'Doctors for Extinction Rebellion is a doctors' collective who, appreciating that climate change is an impending public health catastrophe, have decided to undertake civil disobedience with Extinction Rebellion.'
Immediate unload onto berth and the load started coming off bulk fertiliser.......
CELTIC FORESTER (IMO 9256171, MMSI 232020953) is a General Cargo Ship built in 2003 (21 years old) and currently sailing under the flag of United Kingdom (UK). Her length overall (LOA) is 89.98 meters and her width is 15.3 meters.
The couch was conveniently left as was the bed and springs in the back room. Voila! A furnished flat ready for your immediate occupancy! Glass in the boarded up windows is presently on order.Daily inoculated by UV, there is not a speck of Trumpandemic-19 to be found.
At the time, I was returning to an agricultural series on my return from my eDDie sunflower trek. Early, I grabbed my gear immediately and bailed out east on SH #66 toward I-25 but turned north on back road #7 to scout for anything of interest. I grabbed some floral tributes to early morning while there. On my way to sunflower overload, I spotted a few items of rural interest and decided to return on the same route at a sane speed. I found captures that interested me as long as I had plenty of time to poke. Now I feel that I should have been even pokier while managing to avoid the pokey at cruising speed.
I was blasted by sunflowers before but we had a hazy sky due to some degree of moisture and a large load of "fake" smoke from California and Colorado wildfires. I heard that is no smoke from wildfires in California because der Leader has decried "global warming" as fake news. It must be something else entirely but boy is it thick. Damn, it's really hot even this early in the morning. It was early in the day but it was starting to slug me down. It was smart to bring my Propel hydration.
Although a plain shot, this old derelict shack was more poorly built than others but has yet to tumble and I love this old exterior wood grain and its patina on the humble house that held against the prairie winds in its past. The shack has accumulated old farming implements and other collected detritus outside. It looks like the California smog is moving on east for the edification of Kansan global warming hoaxers. They await the Sturgis flu... another week to go!
After several shots, I am now on my way back to highway #66 and to Logmont before it gets really hot and I empty the rest of my hydration. Yesterday was another hoax warming bummer and we pray for September relief until the fake global warming ramps up worse next summer. Real global warming reared its head this August with 2 days below normal, one normal and the rest above. That means we can spend next year under AC fueled by fossils while waiting for the END and the end of the first Trumpandemic surge in the US. I suppose that you could get cheap boarding in this rural shack but it is reserved for migrant labor. It may no longer have any utilities connected - or heating. That is not the problem this summer as is sleeping. The entire property will eventually be razed for planting a new corn field. This is another of the captures I snapped east of the city limits which extend ever further. Ahhh well, this is another leftover glimpse of the old Colorado west. Boarding-wise, you could get a bit nippy in the winter.
This became one of my most tangled edits using layers and one reversal of an Alpha layer. I had to change my normal layers order. It became a major time drain until I finished.
The immediate steepness of the incline from Coombe Junction to Liskeard is obvious in this view of 'Bill Cookworthy' thrashing away with ancient clay hoods bound for Carne Point at Fowey in January 1988, just a couple of weeks before scenes such as this disappeared as new air-braked wagons took over. Indeed the very last loaded OCVs came from Moorswater Dries on 10 February.
The day's first direct sunlight wonderfully picked-out the texture of the rocks and semi-arid scrub.
Looking south-east from ANZAC Hill (Untyeyetwelye in Arrernte), the nearer hill, 1.1 km away beyond the centre of Alice Springs, is Annie Meyer Hill (Tharrarltneme).
Sacred to the Arrernte people, the hill remains undeveloped; it lies to the immediate north of the Olive Pink Botanic Garden, itself a preserve of native semiarid vegetation, which seems a suitable neighbour.
Mrs. Meyer, incidentally, was the proprietor of a local guesthouse, which she opened in 1924.
Behind, ~4 km from here, is the main spine of the MacDonnell Ranges, broken just off the right of the image by the Heavitree Gap (Ntaripe).
This was shot in the immediate vicinity of Varanasi (Benaras) in a part of the city which is located further the railroad station, where tourists never go and where I realize how extended the city can be.
I had a meeting with some people who were late and I started to take a few pictures of the market settled on both part of the railway.
This boy was selling cauliflowers, it was late in the afternoon so I believe that he was helping his family after school time...
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This negative was one of a group that I got that seemed to be shot in immediate post-war Paris, but I can't swear that's where this photo was taken.
Contact printed onto Agfa Lupex postcard paper. The paper dates from before WWII, based on the packaging, but I don't have a firm expiration date. Surface is glossy. The paper was exposed on my Burke and James 11x14 contact printer for about 3 seconds. This was the first time I used that contact printer, first time using this paper, and first time using the Arista Cold Tone paper developer. I think the prints came out pretty well, considering the age of the paper. The negative fit the postcard sized paper exactly, too!
The immediate result of me telling Siobhan "I'm gonna be a few minutes late, I gotta stop and photograph a traffic light. Josh will understand why"
FOR IMMEDIATE RELEASE
MANIFESTO GLEITZEIT 2015
BY STELLY RIESLING
Featured below is another original art work of mine in homage to THE PIONEER OF INVISIBLE ART — PAUL JAISINI. Forget all the copycats that came after him — Master Paul Jaisini was the *FIRST* of a totally original concept and the *BEST*. My favorite thing about him is that he’s a voice, not an echo, which is quite rare.
DISCLAIMER: This is for anyone who is a hater OR wishes to better understand me, what I’m all about, so you can decide whether I’m weird or normal enough for you — a kind of very loose manifesto, rushed and unrevised, full of raw uncut emotion that I don’t like to be evident in my writing as lately I prefer a more professional, formal style, so we can consider this a rough draft of the more polished writing to come when I have extra time. I might return to this text later and clean it up or break it into separate parts. Right now it’s a long-winded hot mess, so if you manage to make any sense of it, BIG PROPS TO YOU. lol …and if you manage to read it ALL, you have my solemn respect!!! in a day when reading has been reduced to just catchy headliners and short captions of images once in a while. The consequence of this one-liner internet culture is non-linear, tunnel thinking, which is baaaaaad.
There lives among us a most enigmatic and charismatic creature named Paul Jaisini who led me into the wonderful world of art, not personally, but through descriptions of his artworks in essays written and published online by his friend, which painted the most fascinating images in my mind. Early on as a kiddo, I experimented with photography, simple point and shoot whatever looked attractive to me. Digital manipulation of my photographs with computer software followed… and somehow I learned useful drawing techniques along the way to combine existing elements with nonexistent ones, which allowed me to elevate the context for my ideas. Later, I started creating my own digital art from scratch for my friends and family as a favorite pastime. They would shower me with praise and repeatedly encouraged me to share my “different” vision with the rest of the world… it took a while and wasn’t easy to overcome the insecurity of not being good enough along with a gripping fear of being harshly criticized, but one day I woman-ed up and started publishing my work on the web, reminding myself that my livelihood didn’t depend on a positive reception.
Paul Jaisini’s role in all this has been to not disgrace myself, even if what I do is just a hobby. And I would never do him and other genius artists the disservice of calling myself a professional because I know I’ll never be as good as any of the GIANTS of pre-modern history. Be the best or be nothing, no middle ground.
People’s jealousy in the past, future and present over my obsessive love of Paul Jaisini, which they are well aware is purely plutonic, has caused them to despise the man and has made many relationships/friendships impossible for me. I refuse to have such people in my life because by harboring any negativity towards Paul, they unknowingly feel that way about me and express it to me. It’s their own problem for not realizing this. Paul’s new art movement, Gleitzeit, shaped me into the allegedly awesome girl I am today, giving my art more edge, more “sexy” because it refined my vision of the world and propelled me to attain the skills necessary to not dishonor my family name through tenacious pursuit of perfection. Since the beginning of my life, I attempted to depict what I saw in visual, musical and literal forms, but continuously failed without adequate training and determination. Paul Jaisini’s Gleitzeit was the answer to my prayers. Who I am today I owe mostly to him and his selfless ideals of the artverse that I’ve given unconditional loyalty to (he has this cool ability for hyper-vision to see whole universes, not itty bitty worlds, hence I call it an artverse instead of art world, with him in mind). So again, anyone who hates Paul Jaisini hates ME because, regardless of what he means to you, he is the most important person in my life for making me ME. The way a famous actor, dancer or singer inspires others to act, dance or sing, Paul inspired me to become a better artist, better writer, better everything. More people would understand if he was a household name because they’re wired to in society. But we’re inspiring each other all the time in our own little communities without being famous, so if someone has the ability to change even ONE person’s life immensely with creativity, it is a massive achievement. And passionate folks like myself are compelled to scream it from the cyber rooftops. So here I am. It’s whatever.
Furthermore, I’d like to address here a few pressing matters in light of some recent drama brought on by both strangers and former friends. To start, I never judge the passions, interests or likes of others, which are often in my face all over the place, so likewise they have no right to judge any of mine. It is quite unfortunate and frustrating how very little understanding and education the majority of people have or want to have. Their logic is as primitive as a chipmunk when it comes to promotion of fine art on the web: “spamming, advertising, report!” It’s their own problem that they fail to understand what it’s about due to the distorted lens through which they see the world or inability to think for themselves; an inherent lack of perception or inquisitiveness. Well, guess what? Every single image, every animation, every video, every post dedicated to Mr. Paul Jaisini and “Gleitziet” (to elaborate: a revolutionary new art movement Paul founded with his partner in crime and personal friend, EYKG, who discovered him and believed in him more than anyone) has an important purpose. Every one of those things you run across is a piece of a puzzle, a move in a game, an inch down a rabbit hole; the deeper you go, the more interesting it gets; the more levels you pass, the more clues unfold, the greater the suspense and nearer the conclusion (yet further). You earn awesome rewards like enlightenment, spiritual revelations, truths, knowledge, wisdom and the most profound reward of all: the drive to improve yourself to the absolute maximum, so an unending, unshakable drive. People often make a wrong turn in this cyber game and go back a few levels or get stuck. Those that keep on pushing, however, will come to find the effort has been worth it. And what awaits you in the end of it all? The greatest challenge to beating the game: YOUR OWN MIND. You will be forced to let go of every belief you held before you had reached the last level, to completely alter your mindset and perception of the world, of life, of yourself. But by the time you’ve gotten to that point, it will be as easy as falling off a cliff! (It is a kind of suicide after all — death and rebirth of spirit.)
Paul Jaisini does NOT, *I repeat* does NOT use mystery and obscurity to his advantage as a clever marketing ploy, no, he’s too next level for that with a consciousness so rich, he should wear a radioactive warning sign (he’ll melt your brain, best wear a tinfoil hat in his presence as I certainly would.) The statement he makes is loud and clear, hidden in plain site for those who take the time to connect the dots and have enough curiosity to fuel their journey into unknown territory (an open mind and flexible perception helps a lot). Actually, anyone with an IQ above 90 is sure to figure it out sooner or later. Hint: You don’t have to SEE an extraordinary thing with your eyes to know it exists, to understand it and realize its greatness — you can only feel it in your bone marrow, your spinal fluid, your heart and soul. The moment you do figure it out, as the skeleton key of the human soul, it will unlock the greatness and massive potential buried deep within, changing the doomed direction humanity is undoubtedly headed. I don’t speak in riddles, I speak in a clear direct way that intelligent humans will understand, so I’m counting on them.
GIG is an international group of artists and writers that support Paul Jaisini’s Gleitzeit. We started off as an unofficial fan club of Jaisini in 1996, comprised of only 6 individuals spanning 3 countries, and eventually escalated in status to an official fan group across the entire globe. A decade later it had grown to hundreds of fans. Nearly another decade later, there are thousands. Let’s not leave out another delightful group of vicious haters that have been around for nearly as long as us since the late 90s and have also grown in impressive numbers. Now, for the record (and please write this one down because I’m sick of repeating myself), Paul Jaisini himself is not part of our group and has nothing to do with us. He loves and hates us equally for butchering his name and making him appear as a narcissistic nut-job in his own words. He casts hexes on us for the blinding flash we layer over the art that members contribute to GIG — “disgusting-police-lights, seizure-inducing-laser-lightshow, bourgeois-myspace-effects retarded-raver shit” in Paul’s words. Ahh, how we love his sweet-talking us. In a desperate attempt to please him, those among us who make the art and animations have spent countless hours and sleepless nights trying to solve a crazy-complex quantum-physics type of equation = how to not create tacky or tasteless content. He does fancy some of it now, we got better, that’s something! In the reason stated below, our mission just got out of hand at some point.
What little is known about Paul Jaisini, even in all this time, is he’s a horrible perfectionist who slaughtered hundreds of innocent babies — I mean — artworks of remarkable beauty created by his own right hand (mostly paintings, some watercolors and drawings). He’s a fierce recluse who wants nothing to do with anyone or anything in life. But those few of us who know of an incredible talent he possesses (one could go as far as calling it a superpower), could not allow him to live his life without the recognition he FUCKING DESERVES more than any artist out there living today and, arguably, yesterday. We use whatever means necessary to reach more people, lots of flash and razzle-dazzle to lure them into our sinister trap of a higher awareness. Mwahaha! The visual boom you’ve witnessed in both cyber and real worlds, that is GIG’s doing — two damn decades of spreading an art virus — IVA. InVisibleArtitis… or a drug as in Intravenous Art. It’s whatever you want it to be, honey.
Our Gleitzeit International Group (GIG) started off innocently enough and gradually spiraled out of control to fight the haters, annoying the hell out of them as much as humanly possible. They don’t like what we do? WE DO MORE AND MORE OF IT. But never without purpose, without a carefully executed plan in mind collectively. If we have to tolerate an endless tidal wave of everyone’s vomit — e.g., idiotic memes and comics; dumbed-down one-liner quotes; selfies; so-called “art photography” passed through one-click app filters; mindless scribbles or random splatters by regular folks who have the nerve to call themselves serious/pro artists; primitive images of pets, babies, landscapes, random objects, etc… then people sure as shit are gonna tolerate what we put out, our animated and non-animated visual art designed for our beloved master, Paul Jaisini, who has shown us the light, the right path to follow, taught us great things and done so much for us — and so in our appreciation of him, we stamp his name on everything, for the sacrifices he has made in the name of art, to save our art verse, he’s a goddamn hero. There’s a book being written in his dedication where little will be left to the imagination about him.
If Paul Jaisini was as famous as Koons or Hirst, for example, people would know it’s not him posting stuff online with his name on it but fans creating fanart like myself among others. But noooooo, such a thing is unfathomable to most people - the promotion of another artist. Like, what’s in it for us? Uhh, nothing?? This is all NON-PROFIT bitches, the way art should be. It’s a passion FIRST, a commodity/commercial product/marketable item LAST and least. Its been that way for us since the early 90s to this day. Not a single member of GIG has sold an art work (neither has Paul Jaisini who’s a true professional) and we want to keep it that way. We do it for reasons far beyond ego. So advertising? Really? How the hell do you advertise or sell thin air, you know, invisible paintings, invisible anything? Ha ha, very funny indeed. The idea here is so simple, your neighbor’s dog can grasp it. Our motives: replace fast food for the mind with fine art, actual fine art. You know, creativity? Conscious thought? Talent? Skill? Knowledge? All that good stuff rolled into one to bring viewers more than a momentary ooohand aaahh reaction. Replace the recycled images ad nauseum; repetitious, worn-out ideas; disposable, gimmicky, money-driven fast art for simpletons. Stick with the highest of ideals and save the whole bloody planet.
Fine art is often confused with craft-making. This often creates bad blood between classically trained artists who put out paintings that leave a lasting impression, that make strong conversation pieces, that are thought-provoking and deep… and trained craftspeople whose skills are adequate to create decorative pieces for homely environments — landscapes, still lifes, animals, pretty fairies, common things of fantasy, and other simplicity. Skills alone are not enough for high art, you need a vision, a purpose, the ability to tell a story with every stroke of your brush that will both fascinate and terrify the viewers, arousing powerful emotions, illuminating. I have yet to see a visible painting in my generation that does anything at all for me, other than evoke sheer outrage and disgust. What a terrible waste of space and valuable resources it all is.
Paul Jaisini leads, we follow. He wishes to remain unknown - so do most of us. I’m next in line, slipping into recluse mode, no longer wanting to attach my face, my human image to my art stuff. I wish to be a nameless, faceless artist as well, invisible like P.J., and in his footsteps I too have destroyed thousands of my own artistic photography and digital art made with tedious, labor-intensive handwork. The whole point of this destruction is achieving the finest results possible by letting go of the imperfect, purging it on a regular basis, to make way for the perfect. I love what I do so it doesn’t matter, I know I’ll keep producing as much as I’m discarding, keeping the balance. Hoarding is an enemy of progress, especially the digital kind as there’s absolutely no limit to it. It’s like carrying a load of bricks on your back you’ll never use or need.
The watering down of creativity that digital pack ratting has caused as observed over the years is most tragic. For the creative individual, relying on terabytes of stock photos or OSFAP as I call them (Once Size Fits All Photos) instead of making your own as you used to when you had no choice, being 100% original, is a splinter in the conscience. It’s not evil to use stock of, say, things you don’t have access to (outer space, deep sea, Antarctica, etc.), but many digital artists I know today can’t take their own shot of a pencil ‘cause they “ain’t got no time for that!” How did they have time before? Did time get so compressed in only a decade?
Ohhhhh, and the edits, textures, filters, plug-ins and what-have-you available out there to everyone and their cats… are responsible for the tidal wave of rubbish that eclipses the magnificent light of the real talents.
I can tell you with utmost sincerity there is no better feeling on earth than knowing your creation is ALL yours, every pixel and dot, from the first to the last. It’s not always possible to make it so, but definitely the most rewarding endeavor. I’m most proud of myself when I can accomplish that.
Back to Paul Jaisini, from the start there have been a number of theories floating around on what his real story is. One of my own theories is that he stands for the unknowns of the world who can’t get representation, can’t get exhibited at a decent gallery because highly gifted/trained artists aren’t good enough - those kind of establishments prefer bananas, balloon dogs, feces, gigantic dicks/cunts, and all kinds of what-the-fucks…
So again, you don’t get the Paul Jaisini thing? That’s your problem. Don’t hate others for getting it. People are good, very good, at making baseless assumptions and impulsively spewing it as truth. They criticize and judge as if they’re high authorities on the subject yet they clearly lack education in fine art or art history and possess little to no talent or skill to back up their bullshit. My little “credibility radar” never fails. When they say I know this or I know that, I reply don’t say “I know” or state things as fact as a general rule of thumb - instead say “I assume/believe” and state the reasons you feel thus to appear less immature, especially about a controversial topic like invisible art. I have zero respect or tolerance for egomaniacs who think they know it all and act accordingly like arrogant pricks. Who can stand those, right? Once again, a good example would be: I, Stelly Riesling, believe everything I’ve written in this little manifesto to be correct based on personal experience and observation from multiple angles, thorough research and sufficient data collected from verifiable sources (and don’t go copying-pasting my own words back at me, be original). Just because you or I say so doesn’t make it so. Just because you or me think or believe so doesn’t make it true or right. I only ask that my opinions are regarded respectfully and whoever opposes them does so in a mature, civilized manner. We should only be entitled to opinions that don’t bring out the worst in us.
I don’t normally take such a position, but the time has come to stand up for what I believe in! It’s quite amusing and comical how haters think calling me names, attacking me or my interests or members of the project I’m part of for years is going to change something. It only makes more evident the importance of what I’m doing so I push on harder still.
Words of advise to those who can identify with me, with my frustrations over people’s reluctance to change their miserable ways, with our declining art world…
DON’T waste time on people who sweat the small stuff, whose actions are consistently inconsistent with their words. DO waste time on people who always keep their eye on the ball—the bigger picture of life.
Paul Jaisini’s invisible paintings are more than hype, more than your lame assumptions. Here’s one I got that’s pure gold: a cult! It started out as A JOKE OF MINE that was used against me. I told a then-good friend that he should come join our little “art cult” in a clearly lighthearted manner, and later he takes this idea I put in his head first and accuses me of being in an (imaginary) cult—the jokes on me eh?. But wait, aren’t cults religious? Our group consists of people around the world of different faiths (or none at all) so how could that ever work? If religion was about making fine (non-pop) art mainstream and bringing awesome, fresh, futuristic concepts to the collective consciousness, the world would not be so fucked up today because talent, creativity, originality and individuality would be the main focus, not superficial poppycock; those things would be praised and encouraged and supported in society by all institutions, not demonized and stigmatized.
Here is one thing I CAN state as solid fact: only one person close to Paul Jaisini knows the TRUE story, or at least some of it: EYKG. Everything else that has ever been said about him is myth, legend, gossip, speculation, the worst of which is said by jealous non-artists (wannabes, clones, posers, hang-ons, unoriginal ppl in general) and anti-artists (religious psychos, squares, losers and -duh- stupid ppl). Sadly, people are unable to see the bigger picture by letting their egos run their lives or repeating after others as parrots.
Commercial art, consumerism, and ignorance of the masses truly makes me want to curl up in a ball, not eat or drink or move until I die, just die in my sleep while dreaming of a better world, a world where real fine artists rule it with real fine art as they used to and life is beautiful once again….
Well I hope that settled THAT for now, or perhaps inadvertently made matters worse. I hope I didn’t sound too pissed from all these issues that keep popping up like penises on ChatRoulette… just got to me already! Can you tell? I had to put my foot down, stomp ‘em all!
To be continued, still lots more ignorance and pettiness to battle… Till then peace out my bambini. MWAH!
FOR IMMEDIATE RELEASE
MANIFESTO GLEITZEIT 2015
PROLOGUE
Paul Jaisini was like a messiah, as you wish, who saw/understood the impending end and complete degeneration of Fine art or Art become and investment nothing more than that. He predicted the bubble pops art when everybody would eventually become an artist, including dogs cats and horses, because they as kids followed the main rule: express yourself without skills or knowledge or any aesthetic concerns. J. Pollack started pouring paints onto canvases; Julian Schnabel, former cab driver from NY, suddenly decided he could do better than what he saw displayed in galleries, so he started gluing dishes on canvases; A.Warhol, an industrial artist who made commercial silk-screen for the factories he worked in, started to exhibit "Campbell's soup" used for commercial adds... and later the thing that made him an "American Idol": by copying and pasting Hollywood celebrities (same type of posters he made before for movie theaters).
When Paul Jaisini stood out against the Me culture in the US by burning all of his own 120 brilliant paintings (according to the then-new director of Fort Worth MoMa Museum, who offered hin an exhibition of his art in 1992, and later the Metropolitan Museum curator, Phillippe de Montebello, in 1994).Paul probably assumed all fellow true fine artists would join him or stand by him against corruption of the art world.
And after 20 years of his stand-off...the time has finally come today. Many artists and humanitarians around the world took a place beside him. His invisible Paintings became a synonym for the future reincarnation of fine art and long lost harmony. The establishment is in panic! The "moneybags" (as Paul Jaisini named them) are in panic, because they invested BILLIONS of dollars in real crap made by craftsmen. Now they realize that the reputation of American legends of expressionism was nothing but a copy of Russian avant-garde" Kazimir Malevich, Vasiliy Kandinsky and tens of others from France and Germany.. US tycoon investors were spending billions on "Me more original, than you". "Artist Shit" is a 1061 artwork by the Italian artist Piero Manzoni. The work consists of 90 tin cans, filled with feces. A tin can was sold for £124,000, 180,000 at Sothebys, 2007.
EPILOGUE
Before I resume promoting and admiring a very important art persona on today's international art arena, I'd like to clear up some BIG questions; people ask continuously and subconsciously, directly & indirectly: "Why does the name Paul Jaisini, flood the Internet in such "obnoxious" quantities that it's started suppressing some other activities that my friends might share with the rest of the Internet's Ego Me only Me www society? I can't just answer this... so I'll try to explain why I'm writing this: Jaisini's followers keep posting art and info about,
He IMHO the only hope in quickly decomposing visual fine art. "Paul Jaisini realized many years ago, in 1994, when he declared (at that time to himself only) the start of a New era, a New vision, that he is trying to redirect from the rat race, started by an establishment in post-war New York, long before the Internet culture.
Sub related information: Adolf Gottlieb, Mart Rothko, etc (after visiting Paris France in 1933):
"We must forget analytical art, we must express ourselves, as a 5 year old child would, without a developed consciousness. Forget about results - do what you feel, EXPRESS yourself with your own unique style"
With this statement Mark Rothko starts to teach his students, degeneration of fine art begins, and the generation of war of styles took a start signal of the material race, greatly rewarded by establishment "individual" - eccentric craftsmen - show business clowns.
Sub related Information: In the summer of 1936, Adolf Gottlieb painted more than 800 paintings, which was 20X more than he created in his whole art career as a painter, starting from the time of Gottlieb becomes a founding member of "The Ten" group in NYC "Group of Ten" was a very peculiar, enigmatic group... Based on a religious point of view;(where a human figure was prohibited from being created)
GLOSSARY
IN 1997, Paul Jaisini's best friend Ellen Y.K.Gottlieb started a cyber campaign by promoting on a very young Internet, back then, Paul Jaisini's burned paintings as Invisible Paintings, visible only through poetic essays. She and a handful of people saw his originals and were devastated that nobody could ever see them again. "We, his fans, believe that someday Paul will recreate his 120 burned paintings if he has any decency and moral obligation to his fans, who have dedicated decades to make it happen, for their Phoenix to rise from the ashes and the whole world will witness that all these years we spent to get him back to re-paint the Visuals again were not in vain," - said E.Y.K.Gottlieb in 2014 during the 20th anniversary celebration of Invisible Paintings to GIGroup in NYCity. So now, hopefully, this clears up why I and others do what we do - our "cyber terrorism" of good art, dedicated to Paul Jaisini's return, which is & and was our mission & our goal. We post good art to fight "troll art" which is worthless pics, after being passed through 1-click filters of free web apps. We are, in fact, against this www pops pollution, done with "bubble art" by the out of control masses with 5 billon pics a day: Pics of cats, memes, quotes,national geographic sunsets and waterfalls, not counting their own daily "selfies: and whatever self-indulging Me-ego-Me affairs, sponsored happily by photo gadget companies like Canon, Nikon, Sony...who churn out higher quality madness tools at lower cost.
This way Government taking away attention from the real world crisis of lowest morality & economical devastation. The masses are too easily re-engineered/manipulated by the Establishment PopsStyle delivered to them by pop music and Hollywood "super" stars. In 1992 Paul Jaisini's Gleitzeit theory predict such a massive, pops self-entertain madness, following technological explosion, but not in illusive scales.
Uber Aless @2015 NYC USA
NOTE Date's numbers and events can be slightly inaccurate.
#gleitzeit #paul-jaisini #invisible #painting #art #futurism #art-news,
Styrum was an immediate lordship in the Holy Roman Empire, located in Mülheim an der Ruhr, North Rhine-Westphalia, Germany. It held no seat in the Diet and was circumvened by the lordship of Broich.
The exact date of construction of its castle is unknown. Styrum was already prosperous in Frankish times before Charlemagne (late 8th century). In 1067 Styrum was given to the Abbacy of Kaiserswerth. After the murder of the Archbishop of Cologne, Engelbert of Berg, in 1225, the descendants of Frederick I of Isenberg gained ownership of Mülheim an der Ruhr and thereby of the castle as Lords of Styrum and took up residence. Here they founded the line of Counts of Limburg Styrum, a family that would later obtain important estates in Westphalia and the Lower Rhine. With the partition of the House of Limburg Styrum in 1644, Styrum passed to the line of Limburg-Styrum-Styrum.
Styrum was rebuilt in Baroque style in 1668, and it received its present form after a fire in 1738. In the mediatisation of 1806, Styrum came under control of the Grand Duchy of Berg. The line of Limburg-Styrum-Styrum became extinct in 1809. The last count of the Styrum branch of the family, Ernst Maria Johan (deceased on 23 March 1809) in his will of 29 January 1808 donated Styrum to the sister of his wife: Maria Margaretha von Humbracht, who sold it in 1825.
Styrum was purchased by the German industrialist August Thyssen in 1890. His company gave the castle to the city of Mülheim in 1960. It was transformed into a restaurant, artist studio and community centre for the elderly in 1992.
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