Ricoh GR

Location: Manila

Don't use this image on websites, blogs, facebook or other media without my explicit permission. Copyright © Meljoe San Diego All rights reserved.

PLEASE , do not comment with GROUP INVITATIONS, GLITTER IMAGES/AWARDS or SELF PROMOTION!

Week 5 of Project 52 (On time!!)

I love nothing more than a 4-5 mile walk on the AT on a sunny afternoon.

“Most of the time I am sunk in thought, but at some point on each walk there comes a moment when I look up and notice, with a kind of first-time astonishment, the amazing complex delicacy of the words, the casual ease with which elemental things come together to form a composition that is--whatever the season, wherever I put my besotted gaze--perfect.” -Bill Bryson

Looking down the race course at Epsom Downs. The Queens Stand in the distance.

beamahan.blogspot.com.es/2010/10/finde-de-letras.html

India has a holiday today. A National Holiday for this day Indian adopted a Constitution and set the bedrock of democracy within a constitutional framework.

The big event of the day - A Republic Day Parade in Delhi. I remember peeping on to that many decades ago. Now you can see it on the idiot box.

"Vande Mataram" , is a catechism of sorts that intellectually defines the Republic Day in India as much as the popular parade does for the masses. It is a poem written by Bankim Chandra Chattopadhyay in 1882 and is an obeisance to the power goddess Durga.

Vande Matram was the offering and greeting that freedom fighters used while communicating with each other in the halcyon days of the struggle to overcome the colonial rule in the late 19th and early 20th century.

The first two verses of the poem "vande Mataram" form the "National Song" of the Republic of India.

This text is the calligraphic creative work of Uday Tadphale, a wonderful creative artist with absolutely rocking good credentials.

He is on flickr -- Uday Tadphale on Flickr

You can see his creative work here

You can download this image and use it as a Display Icon for Twitter, Flickr or Facebook or what ever.

Please do so. Much obliged.

Thank you Uday Tadphale for sharing your creative genius.

IMG_8463 copy

Coleman, TX; the middle panel orignally read "Walgreen Agency" originally like this one:

www.roadarch.com/17/6/codrugs.jpg

INSTAGRAM TWITTER

Aj Sak Teles, ruler of the city of Lacanha, depicted enthroned upon animate stone. He holds the Royal bar which depicts the god K'awiil, associated with fertility and maize.

Late Classic Maya, Lacanha,746 CE

Limestone

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The Robert Woods Bliss Collection of Pre-Columbian Art

Dumbarton Oaks Museum, Library & Research Center

Georgetown neighborhood

1703 32nd St NW

Washington, District of Columbia

Seen in Annapolis, Maryland

©2011 Muktasyaf Ibrahim AnNamir™ (my facebook)

Not to be used or reproduced without written permission.

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THUMB this up? OR View Large?

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10 Sifat Calon Suami Yang Baik:

Jika anda seorang wanita, carilah lelaki yang mempunyai sifat-sifat berikut; dan jika anda seorang lelaki, jadilah seorang lelaki yang mempunyai sifat-sifat berikut:

1. Kuat amalan agamanya. Menjaga solat fardhu, kerap berjemaah dan solat pada awal waktu. Auratnya juga sentiasa dipelihara dan memakai pakaian yang sopan. Sifat ini boleh dilihat terutama sewaktu bersukan.

Begitulah serba sedikit panduan penilaiannya di mata kita seorang hamba, selebihnya adalah urusan ketaqwaan beliau kepada Allah. Wallahu a'lam :)

About The Shot:

I managed to shot this subject for the Holy Quran Memorization Methods book published by Darul Quran JAKIM.

Location, Date & Time:

My White Room | 20 August 2011 | 12:45pm (+8GMT)

Canon EOS 7D + Kitlens + 580EXii:

ISO-200, f/9, 1/200" at 55mm.

Me:

Thanks for your kind visit and support =)

All comments, criticism and tips for improvements are welcome.

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• Feel free to view my BEST INTERESTING SHOTS according to Flickr: Search here:

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- Search for ISLAM

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- Search for 350D

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- Search for HDR

- Search for Handheld

- and search for Annamir ;p

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Have a great holiday season!

We are two days away from the release of the Powder Pack January Edition. Make sure to reserve your pack now, as the price will increase to $L3,000 when the items are released, so make sure you pre-order!

IMPORTANT LINKS

Purchase in-world: maps.secondlife.com/secondlife/Vim/172/114/3501

Purchase online: marketplace.secondlife.com/p/Powder-Pack-January-Boxed/10...

More information: powderpacksl.com/

Facebook Giveaway: www.facebook.com/PowderPackSL/posts/1820313158243121

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,

OPEN LETTER TO PAUL JAISINI: “IF THERE’S GOD OR P. JAISINI

DEAR PAUL:

Please give us all hope for the new resurrection of the invisible and visible after the terror of the visual is overpowering and had removed all the essential human qualities.The visual had enslaved all human race into submission, we need the new INVISIBLE premises to be free of the visual terror to return to the DESIRE to possess to cherish. We had lost the desire with the possession of the images, of the unlimited choices. For example… I will SEE enough juice for my memory to keep me for craving it - my daily dose of the search — and the resources are vast - images of the imaginable future girlfriends I could had chosen but have no interest in… Another day of looking and processing. Same as the old girl who calls it: ALWAYS LOOKING AT AND ALWAYS JUDGING. I think I am now not a man — the visual terror had done me in. I turned into “the eyes”.

I can possess the images of so many young girls that in the end of the possession I forget my initial interest.

My voyage had one direction — I was looking for a treasure, but in the process I had forgotten all about the trip and reduced my purpose to the mere observation. I had even forgotten my normal routine and had changed personally. No longer do I want to hold the treasure. I am happy with the process. I don’t ever want to end it. And its something in my imaginable control. I can freely continue to consume the given information (the female images) as a collection of my new memory that stores these images to just process and not to choose.

Lucio-Fontana-cuts-Andy-Warhol-Campbell-Soup-Invisible-Painting-Paul-Jaisini

lover I don't have to love.

I'm not sure I could have staged a better broadside for this motor--a little bit of green and sandwiched between the Salt Lake City Olympics pair. I'd forgotten that I'd gotten the broadsides as this Proviso-bound manifest changed out at the Hard Road in Boone. After this afternoon, I'd never see this motor again.

Turks and Caicos

there are questions about this photo too. I took the photo in Williamsburg, as one would expect.

Ian Fleming famously wrote one of his Bond novels on a gold typewriter in a hut in Jamaica, fueled by an abundant supply of martinis and cigarettes (much like Auden).

In a scene in the 1964 James Bond film Goldfinger, Bond is offered more of what Col. Smithers (player by Richard Vernon, see links below) describes as "rather disappointing brandy." M asks what's wrong with it, and Bond replies, "I'd say it's a 30-year-old Fine, indifferently blended ... with an overdose of bon bois".

Col. Smithers then gives Bond a gold bar worth 5,000 pounds to deliver to Goldfinger, which Bond then uses as collateral to win a golf match.

As much as I would like to go back to say 1964, and become a Luddite, technology cannot be ignored.

Which brings elements of this Everyman 007 kit from an imaginary Q-branch, for the film essayist, architect, poet:

1. a silver hip flask with leather embossed Union Jack containing a day's supply of french brandy

2. a gold bar 8gb USB containing atelier ying's 245 design drawings

3. a Cohiba tubos containing a set of wooden golf tees, or a fountain pen and rolled paper.

Note: my design no. 139 for Richard Vernon can be seen in the following link:

flic.kr/p/hJX2th

Design, concepts, text and drawing are copyright 2014 by David Lo.

brooklyn night lights

These will be used as elements in a mixed media painting for my exhibit at The Lunenburg Cultural Centre in August.

لك الحمد ياالله🌸🍃~ ....

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twitter.com/kalima_h

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at Instagram by sukar012

“But it is the nature of stars to cross, and never was Shakespeare more wrong than when he has Cassius note, ‘The fault, dear Brutus, is not in our stars / But in ourselves.”

© romi.photography all my photos may not be blogged or used in any way without my written permission.

Huffingtonpost blog about April-lea (So aMUSEd)

The translation of the text that appears in the blog (which you can read below) is the work of Mark Donnelly . A great thank you to Mark for always looking for the best translation and to April-lea (So aMUSEd) for the great work and collaboration.

Eroticism, freedom and beauty

April-lea Hutchinson (Toronto, Canada) is model, photographer, judge and part hunter part prey. She knows how to make a model feel in order to achieve what she wants: naturalness, melancholy, intensity, desire… Her models don’t pose at all, they flow before the camera, they interact with it, and they seduce it.

She developed an interest in photography when she was at high school and had the opportunity to work with many photographers as a model. While others would have paid more attention to their looks and the outcome of the shoot, April-lea paid close attention to photography technique, the use of light and the interaction between the model and the photographer.

There is nothing artificial about her work; it is magical! Don’t expect any top of the shelf adult magazine photos here of super skinny fake models with big hair, retouched with Photoshop and countless filters applied to give the skin a porcelain like effect. She spontaneously brings us closer to the beauty of the body and sex. All served raw. No stylists, no assistants, only a few cameras loaded with film.

She doesn’t create desire in her images but captures the moment of seduction in situ. All of this without the cowardly attitude of the voyeur, who is able to look at everything without ever, showing himself, hidden behind a curtain or lens. April-lea shows herself the same way her models do, no censorship, no filters, no restraint. In her work shyness is not permitted and the fourth wall is often broken down.

Natural light, film or Polaroid, a body and a vision is all that she needs to turn a scene beside a bed or a window into a unique erotic moment. “I prefer to work on location using available light. I do not digitally manipulate any of my photographs with software, I do not use Photoshop.” She says.

In 2008, she began to take erotic photographs: “There is something elemental, primal and honest about erotic photography. The freedom and beauty inspires me so much” She continues to transmit that inspiration with her distinctive stamp, always looking for the magic and sensuality in a fleeting moment.

Recent publications: Taschen New Erotic Photography Vol # 2 and Mammoth Erotic Photography Vol. # 4. (September 2013)

Content Editor: Supplementaire Art & Fashion Journal y 62nd Floor Art Zine.

Penngrove, CA

been to hell and back,

i could show you vouchers.

- no love ; eminem feat. lil wayne.

Pennsylvania | Rochester | Beaver County

Not quite a ghost just now, but someday.

Mogadore, Summit County, Ohio

Copyright © Assandri Michele

on Facebook AM-Photography

In tour with Flavia - nicopando71 - fred_vr

The switch of the dark On Black and Large

♫ Theme Fear-of-the-dark- Iron-Maiden

Thanks for the visits, comments, notes and faves!!!

Pls don't post here any group invite, glitter text or stuff like that.

JOIN TO Mikytz's wOrLd</a

Not too many things say Americana more than baseball...

Technical Information:

Camera - Nikon D5200 (tripod mounted)

Lens – Nikkor 18-300mm Zoom

ISO – 160

Aperture – f/5.6

Exposure – 1/15 second

Focal Length – 200mm

The original RAW file was processed with Adobe Camera Raw and final adjustments were made with Photoshop CS5. The Black & White conversion was completed using Nik Silver Effects Pro and the red stitching was painted back in using a layer mask in PS CS5.

"For I know the plans I have for you,” declares the LORD, “plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11

wordpress.com/post/fotopraxis.net/11011

DIE NEUE FOTOSCHULE

Trommelwirbel, holla, die "Fotoschule" ist endlich raus! Knapp 500 Seiten sind es geworden, Offsetdruck, 25 Workshop-Kapitel und -Shootings, 40 Praxisbeispiele im Text, 64 Aufgaben mit Lösungen im Anhang, Offset-Druck und Fadenbindung. Es ist dann doch etwas umfangreicher geworden als anfangs gedacht. :-) :-)

Schaut mal in den Blogbeitrag und in die Leseprobe, ob es Euch nützen könnte, enjoy!

Background with variety of Christmas decoration. Merry Christmas

Wrocław, Poland

Mark Strand

Collage: Newsprint , Sepia Ink, Photograph

Text: "Composition" by Henri Cartier-Bresson

Image: Anonymous 19th Century Photograph

(c) C H Paquette 2012

www.holyspiritspeaks.org/videos/faith-in-god-movie-4/

Introduction

Most people in the religious world believe thatthe Bible is the canon of Christianity, that one must hold on to the Bible and base one's belief in the Lord entirely on the Bible, and that one cannot be called a believer if one departs from the Bible. So is a belief in the Lord and a belief in the Bible one and the same? What exactly is the relationship between the Bible and the Lord? The Lord Jesus once reprimanded the Pharisees with these words, "Search the scriptures; for in them you think you have eternal life: and they are they which testify of me. And you will not come to me, that you might have life" (John 5:39-40). The Bible is merely a testimony of God, but it does not contain eternal life. Only God is the truth, the way and the life. In that case, how do we look at the Bible in a way that accords with the Lord's will?

Terms of Use： en.godfootsteps.org/disclaimer.html

Toronto Ontario Canada

laboratorio de ying, nyc.

something that I kind of always wanted to do, and I hope it will bring a sparkle to everyone's Inner eye who imagines this along with me.

in this fantasy a very well equipped valise carries an entire miniature charcuterie with the following:

mortadella, livarot, French mustard, pink sea salt, tiny round hot peppers, marinated artichokes, orange-flecked Provence olives, vintage red wine, basil, large raisins still on the vine. This is my initial presentation. I am sure you could add more sausages and cheeses to round out the selection.

the former street photographer in me remembers very well how hungry we can get after a good 2 1/2 hour session on the streets in the cold.

I remember in Tokyo the most delicious meal I had was started simply with a very cold beer and a plate of homemade pickles after five hours of walking.

anyway, the bottom half of the this valise is entirely for the charcuterie, and is handsomely framed behind a glass and chrome lid (to keep out the flies). It also comes with glassware, cutlery (a mini-mandoline) and wooden plates.

the top half of the case is an upgraded pinhole version of the early French Chambre Automatique, except that it too is protected by a glazed modern façade wall with windows of different sizes. An alternate configuration for the cameras is on the bottom which provides similar compartments of different sizes. Either way, one can have a set of assorted pinhole cameras, a "charcuterie of cameras", in effect. The film development can be done on site like the classic early French camera or off-site as is the more modern way. A very French chalkboard framed in dark wood to display the current day's goods rounds out the presentation.

the case is 15 inches wide by 13 inches tall by 8 1/2 inches deep. Of course, this valise in leather must be custom made to measure.

Design, text and drawing are copyright 2014 by David Lo.