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A cat's presence can be soothing like a natural anti-depressant. They are also hilariously funny.
A Cat’s Diary Compared To A Dog’s Diary
The Dog’s Diary
8:00 am – Dog food! My favorite thing!
9:30 am – A car ride! My favorite thing!
9:40 am – A walk in the park! My favorite thing!
10:30 am – Got rubbed and petted! My favorite thing!
12:00 PM – Milk bones! My favorite thing!
1:00 PM – Played in the yard! My favorite thing!
3:00 PM – Wagged my tail! My favorite thing!
5:00 PM – Dinner! My favorite thing!
7:00 PM – Got to play ball! My favorite thing!
8:00 PM – Wow! Watched TV with the people! My favorite thing!
11:00 PM – Sleeping on the bed! My favorite thing!
The Cat’s Diary
Day 983 of my captivity
My captors continue to taunt me with bizarre little dangling objects. They dine lavishly on fresh meat, while the other inmates and I are fed hash or some sort of dry nuggets. Although I make my contempt for the rations perfectly clear, I nevertheless must eat something in order to keep up my strength.
The only thing that keeps me going is my dream of escape. In an attempt to disgust them, I once again vomit on the carpet. Today I decapitated a mouse and dropped its headless body at their feet. I had hoped this would strike fear into their hearts, since it clearly demonstrates my capabilities.
However, they merely made condescending comments about what a “good little hunter” I am.
There was some sort of assembly of their accomplices tonight. I was placed in solitary confinement for the duration of the event. However, I could hear the noises and smell the food. I overheard that my confinement was due to the power of “allergies.” I must learn what this means, and how to use it to my advantage.
Today I was almost successful in an attempt to assassinate one of my tormentors by weaving around his feet as he was walking. I must try this again tomorrow, but at the top of the stairs.
I am convinced that the other prisoners here are flunkies and snitches. The dog receives special privileges. He is regularly released, and seems to be more than willing to return. He has obviously gone mad.
The bird must be an informant. I observe him communicate with the guards regularly. I am certain that he reports my every move. My captors have arranged protective custody for him in an elevated cell, so he is safe.
For now.
Originally I took these photos to use in digital art! That was some time ago. You may use them in yours if you wish.
While my wife was making a hospital visit, I took a few minutes at the community park.
There she was, on the stage of the amphitheater. It must've been a brutal concert! There was Barbie, torn asunder on the stage. Apologies for the grusome sight!
The object of this weekends rescue from Death Farm. New to Oldham as 104 (104HBU) it passed to SELNEC and then Greater Manchester PTE becoming 5104. Rescued from a Scottish berry farm in the early nineties it was vandalised and ended up here around 1995ish.
Viewing the forms of objects as they change over time.
the animated version can be seen here www.vimeo.com/434401
Oil on canvas
20" x 20"
June 2015
None of This Was Real is a series of oil paintings that portrays fictional scenes of objects randomly generated by a computer program. These objects are a product of code written by the artist and rendered using a global illumination ray tracing engine. They are effectively subjects for still life. But there was never any life – any reality – in the subjects. Everything was virtual and simulated.
The software for creating the reference images was written in Processing (processing.org), with the additional help of toxiclibs (toxiclibs.org) for geometry creation and Sunflow (sunflow.sourceforge.net) for the global illumination rendering engine.
To me this image looks as if it has had a filter added to it as the lighting makes it look a little bit pink/purple, but it's completely natural and just the positioning of the sun as I took the photo (made obvious by the sun flares in the image).
Ok thats the story! I went to my surrounding area, because the weather was good to take some pictures. I found this nice place all over Graz which provided a great view with these nice sunbeams spotting down.
So I was searching for an object to put it in front, because I learned "you always need to have an object". :)
Now, there wasn't anything interesting even close.. so I abused my car. Actually it wasn't well prepared, no cleaning since months and even still this ugly box on the roof from my latest holidays.
Anyway I am quite pleased with the result, It gives the impression of being in holidays, even because the ugly box is on top. ;)
Willem van Mieris II 1662-1747. Leiden
A hurdy gurdy player and a barmaid.
Un joueur de vielle et une barmaid. 1706
Dresden. Gemäldegalerie Alte Meister.
LES PAYS BAS: LA PEINTURE PROFANE ET BOURGEOISE
Avec Pierre Bruegel l'Ancien (1525-1569) apparaissent aux Pays Bas, les premières tendances profanes de la peinture européenne au Nord des Alpes. Tendances profanes qui vont s'amplifier dans cette région d'Europe jusqu'à devenir très vite quasiment exclusives après la Réforme, de tendances calvinistes, qui s'installe dans le nord du Pays. Cette importance accordée à la vie quotidienne, sans aucune référence religieuse ou historique, s'impose aux Pays Bas bien avant toutes les autres nations européennes.
Le siècle d'Or des Pays Bas du Nord, le 17è, est presque totalement un siècle de peinture séculière. Sauf Rembrand et quelques uns de ses élèves.
Les premiers grands peintres des Pays Bas, au sud comme au nord du pays, de Van Eyck à David ont, sauf quelques portraits, exclusivement peint des tableaux religieux. C'est la raison, réelle, même si elle n'est pas ouvertement proclamée, pour laquelle l'histoire de l'art universitaire continue de les appeler des "Primitifs".
Mais à partir de Bruegel Pierre l'Ancien, dans les histoires de l'art de langue française comme de langue anglaise, les peintres ne sont plus "Primitifs". Ils sont "Renaissants" !
David le dernier Primitif est mort en 1523. Bruegel le premier Renaissant est né en 1525.
Vraiment l'histoire officielle fait bien les choses ! Tout s'enchaîne merveilleusement.
Effectivement Bruegel Pierre l'Ancien, peintre des Pays Bas du Sud, a peint les saisons, les fêtes de villages, les noces paysannes, et même la chute d'Icare, un thème mythologique. Quand Bruegel Pierre l'Ancien a peint des sujets religieux comme la Montée au Calvaire, la Crucifixion, le Dénombrement de Bethléem ou le Massacre des Innoçents, il a traité le sujet comme une occasion de peindre la société de son époque. Le plus souvent le sujet religieux est une toute petite partie du tableau. La nativité ou la crucifixion, Marie et Joseph, sont évoqués au sein d'un ensemble purement descriptif des moeurs de l'époque qui sont en réalité le thème principal de la peinture.
Après la Réforme protestante, de tendances calvinistes, qui s'impose aux Pays Bas du Nord à la fin du 16è et au début du 17è siècle, les penchants profanes, laïques, séculiers, de la peinture des Pays Bas s'accentuent encore. Seul les Pays Bas du sud (Belgique) conservent des thèmes tirés de la religion catholique.
Par rapport aux peintres des Pays Bas du Sud, la particularité des peintres des Pays Bas du Nord est en outre que la mythologie ou l'histoire gréco-romaine tiennent très peu de place, voire aucune.
La très grande majorité des peintres de cette école des Pays Bas du Nord, s'intéresse uniquement à la vie quotidienne de leur époque.
Ces peintres de l'Ecole des Pays Bas du Nord décrivent longuement les paysages et les moeurs de leur temps, dans les villes et dans les campagnes, ou se spécialisent dans les natures mortes et les portraits.
Sur ce terrain ils sont uniques en Europe continentale en tant que phénomène de société absolument généralisé.
L'Italie, l'Espagne, la France, l'Allemagne continuent, jusqu'au 19è siècle, à alterner oeuvres religieuses et oeuvres profanes. Les oeuvres profanes sont d'ailleurs inspirées plus par la mythologie et l'histoire gréco-romaine que par les moeurs de la société.
C'est uniquement grâce aux peintres des Pays Bas, du Nord particulièrement, que nous avons des représentations fidèles d'une société européenne au cours de la fin du 16è et du 17è siècle. Y compris les paysans, ce qui est tout à fait remarquable.
Mais la peinture du siècle d'or des Pays Bas a une autre caractéristique : c'est la première peinture bourgeoise d'Europe, c'est à dire exécutée mais aussi commanditée par la haute et la moyenne bourgeoisie néerlandaise. Ce qui explique les thèmes choisis : Portraits de bourgeois, même tout à fait ordinaires. Scènes de la vie quotidienne dans les intérieurs bourgeois ou petit bourgeois et même artisanaux. Scènes de la vie des métiers, de tavernes, de marchés. Natures mortes. Paysage des villes et des campagne. A l'occasion scènes de la vie paysanne. Evidemment paysages d'Italie, car l'Italie demeure le grand lieu de destination de tous les peintres d'Europe.
Première peinture bourgeoise ou encore première peinture de la classe moyenne. Les deux concepts ne se rejoignent pas tout à fait. La haute et très haute bourgeoisie n'est pas la classe moyenne. Elle a joué un rôle plus ou moins important en Europe, selon les pays. Son domaine est le grand commerce international, l'artisanat à grande échelle comme dans le textile, la banque. En Italie, en Flandre, dans les pays Germaniques, le long du Rhin et du Danube, sur les bords de la Baltique cette haute bourgeoisie joue dès le 11è siècle et le grand démarrage économique de l'Europe un rôle très important qui touche directement au politique, au gouvernement des cités. Mais en réalité cette haute bourgeoisie s'agrège à l'Aristocratie et adopte ses modes de vie et ses goûts artistiques. La particularité des Pays Bas est que, avec la Réforme protestante au 17è le siècle, les goûts artistiques de la haute bourgeoisie rejoignent ceux de la bourgeoisie moyenne, et plus généralement de la classe moyenne.
A la même époque, ailleurs en Europe la peinture reste commanditée par l'aristocratie et une très haute bourgeoisie commerciale et financière dont les intérêts demeurent orientés vers la peinture d'histoire, la mythologie, la peinture religieuse, une peinture des moeurs mais de l'aristocratie, comme la chasse, les fêtes nobiliaires. Le reste de l'Europe n'adoptera les thèmes de la peinture bourgeoise néerlandaise, de la classe moyenne, qu'au 19è siècle dès les romantiques et pendant toute la période de l'Art Moderne jusque dans les années 1950
Avec l'Art Contemporain, la peinture officielle change totalement d'inspiration. Elle est commanditée par une cabale de grands Influents qui imposent un art séparé, réservé, "éclairé" : l'Art Conceptuel, laid et absurde.
A partir de la Fontaine-Urinoir de Marcel Duchamp le laid est promu à la dignité de concept créateur, d' idée fondatrice inséparable du nouvel Art Conceptuel, à égalité avec quelques autres obsessions : le Nouveau, l'Absurde et la Provocation.
L'artiste contemporain officiel doit proposer froidement, avec détermination les objets les plus hétéroclites : sièges et tables bancales, cartons, toutes les brosses, à dent, à ongles, à cils, à cheveux, à vêtements, des lunettes, des chaussures, balais brosse et serpillières, cintres, vêtements, chiffons entassés, boites ouvertes ou fermées, machineries cassées ou concassées, tubulures, poutrelles rouillées, tordues, cassées, poutres de ciment, moellons, parpaings, tuiles, briques entières ou pulvérisées, tubes de néon, tas de gravats ou de charbon, sacs de cailloux, toutes les sortes de tuyaux: fer, ciment, plastiques, tous les tissus en vrac, du caoutchouc, des seaux, brocs, pots, un vieux téléphone, des machines à écrire, à laver, un évier... et bien sûr toujours des carrés ou rectangles blanc, jaune, noir, rouge et des taches ou des lignes à l'infini. ...et proclamer haut et fort, avec une grande assurance, le plus de culot possible même, que c'est de "l'art" et surtout de l'art anti-bourgeois. Car bien sûr cette élite éclairée et argentée qui commandite le non-art contemporain se proclame et s'affiche révolutionnaire.
THE NETHERLANDS: PROFANE AND BOURGEOIS PAINTING
With Pierre Bruegel the Elder (1525-1569) appeared in the Netherlands, the first profane (secular) tendencies of European painting in north of the Alps. Profane tendencies which will increase in this region of Europe until very soon become almost exclusive after the Reformation, of Calvinist trends, which settled in the north of the country. This emphasis on everyday life, without any religious or historical reference, applies to the Netherlands well before all the other European nations.
The Golden Age of the Northern Netherlands, the 17th, is almost totally a century of secular painting. Except Rembrand and some of his students.
The first great painters of the Low Countries, to the south as to the north of the country, from Van Eyck to David have, except for a few portraits, exclusively painted religious pictures. This is the real reason, even if it is not openly proclaimed, for which the university history of art continues to call them "Primitives".
But from Bruegel Peter the Elder, in the stories of the art, in French as well as in English language, the painters are no longer "Primitives". They are "Renaissants"!
David the last Primitive died in 1523. Bruegel, the first Renaissance painter, was born in 1525.
Really the official university history does well! Everything is chained beautifully.
Indeed, Bruegel Pierre the Elder, painter of the Low Countries of the South, painted the seasons, the village festivals, the peasant nuptials, and even the fall of Icarus, a mythological theme. When Bruegel Peter the Elder painted religious subjects such as the Ascent to Calvary, the Crucifixion, the Bethlehem Count, or the Massacre of the Innocents, he treated the subject as an opportunity to paint the society of his time. Most often the religious subject is a very small part of the picture. The nativity or the crucifixion, Mary and Joseph, are evoked within a purely descriptive set of the mores of the time which is in reality the main theme of painting.
After the Protestant Reformation, of Calvinist tendencies, which prevailed in the Low Countries of the North (Netherland) at the end of the 16th and the beginning of the 17th century, the profane and secular propensities of painting in the Low Countries are still accentuated. Only the South Low Countries (Belgium) retains themes drawn from the Catholic religion.
In comparison with the painters of the Low Countries of the South, the peculiarity of the painters of the Low Countries of the North is moreover that the mythology or the Greco-Roman history take very little place, if any.
The vast majority of the painters of this school in the Low Countries of the North (Netherland) are interested only in the daily life of their time.
These painters of the School of the Low Countries of the North (Netherland) describe at length the landscapes and the customs of their time, in the cities and in the countryside, or specialize in still lifes and portraits.
On this ground they are unique in continental Europe as an absolutely generalized phenomenon of society.
Italy, Spain, France and Germany continued to alternate between religious and secular works until the 19th century. The profane works are, moreover, inspired more by mythology and Greco-Roman history than by the mores of the society.
It is only thanks to the painters of the Netherlands, especially in the North, that we have faithful representations of a European society in the late 16th and 17th centuries. Including the peasants, which is quite remarkable.
But the painting of the golden age of the Netherlands has another characteristic: it is the first bourgeois painting in Europe, that is executed but also sponsored by the upper and middle Dutch bourgeoisie. Which explains the themes chosen: Portraits of bourgeois, even quite ordinary. Scenes of everyday life in bourgeois or petty-bourgeois and even artisanal interiors. Scenes from the life of trades, taverns, markets. Still life. Landscape of cities and countryside. Occasionally scenes of peasant life. Obviously landscapes of Italy, because Italy remains the great place of destination of all the painters of Europe.
First painting bourgeois or first painting of the middle class. The two concepts do not come together completely. The high and very high bourgeoisie is not the middle class. It has played a more or less important role in Europe, depending on the country. His field is the big international trade, the large-scale handicraft as in the textile, the bank. In Italy, Flanders, the Germanic countries, along the Rhine and the Danube, on the banks of the Baltic, this high bourgeoisie played a very important role in the 11th century and the great economic start of Europe politics, the government of cities. But in reality this high bourgeoisie joins the Aristocracy and adopts its lifestyles and artistic tastes. The peculiarity of the Netherlands is that, with the Protestant Reformation in the 17th century, the artistic tastes of the upper bourgeoisie join those of the middle bourgeoisie, and more generally of the middle class.
At the same time, elsewhere in Europe the painting remains sponsored by the aristocracy and a very high commercial and financial bourgeoisie whose interests remain oriented to the painting of history, the mythology, the religious painting, a painting of the mores but of the aristocracy, like hunting, nobility festivals. The rest of Europe will not adopt the themes of Dutch bourgeois painting, of the Middle class, until the 19th century already since the romantic period, and throughout the period of Modern Art until the 1950s
With Contemporary Art, the official painting changes totally of inspiration. It is sponsored by a cabal of great Influents who impose a separate art, reserved, "enlightened", the Conceptual Art, ugly and absurd.
From Marcel Duchamp 's Fontaine - Urinoir, the ugly is promoted to the dignity of a creative concept, a founding idea inseparable from the new Conceptual Art, on par with some other obsessions: the New, the Absurd and the Provocation.
The official contemporary artist must propose coldly, with determination the most heterogeneous objects: wobbly seats and tables, cartons, all brushes, for tooth, nail, eyelashes, hair, clothes, glasses, shoes, brooms brushes and mops, hangers, clothes, packed rags, open or closed boxes, broken or crushed machinery, tubing, rusted beams, bent, broken, cement beams, rubble, blocks, tiles, whole or pulverized bricks, neon tubes, heaps of rubble or coal, pebble bags, all kinds of pipes: iron, cement, plastics, all loose fabrics, rubber, buckets, jugs, pots, an old phone, typewriters, washing, a sink ... and of course always squares or rectangles white, yellow, black, red and spots or lines to infinity. ... and proclaim loud and clear, with great confidence, the most possible base even, that it is "art" and especially anti-bourgeois art. Because of course this enlightened and silvery elite who sponsors the contemporary non-art proclaims itself anti-bourgeois and revolutionary.
Well, I got back from my little trip and here is one of my finds. Not sure why it is that I like these little mysteries, but I do. It shouldn't be too hard to figure out.
unidentified flying object - oggetto volante non identificato.
Who knows the name of this insect... - Chi conosce il nome di questo insetto ?
These are my favorite objects in the constellation of Orion. The horse has creamy-white mane.
I tried ISO 1,600 of EOS 5Dmk2, and the result was nice. Stars got obviously smaller than those taken at ISO 6,400, though I needed to expose longer by four times. I tried new cover of the mirror in my off-axis guider, and the result was rather worse than ever. It made long spikes from bright stars near the mirror. I suspect it due to the thin edge of the black paper cover. I will try another cover made of a razor blade and black sponge.
equipment: FSQ-106ED and Reducer QE 0.73x and EOS 5Dmk2-sp2 by Seo san on EM-200 temma 2Jr. autoguided with hiro-design off-axis guider, Starlight Xpress Lodestar autoguider, and PHD Guiding.
exposure: 9 times x 15 minutes, 3 x 8 min, 5 x 4 min, 6 x 1 minute
location: a dark site at 4,000 feet above sea level in Nagano, 2 hour drive from home in Tokyo
This is the frame of the region taken with EOS 5D without mod. on Mauna Loa in January 2008.