Understandable photos on Flickr

If you want to understand the insanity of the settler-driven religious zionist madness of Israel, there is one pivotal Israeli settlement you need to know about: Yamit.

Yamit was a town located in present-day Egypt just south of Rafah on the Gaza Strip today, but whose legacy lives on in burning memory in Israel; spurring on the genocide we are witnessing every day.

So what the hell was Yamit all about, and why is this town that doesn’t even exist anymore important to know about, you say?

I will tell you why. Because you may be bewildered by what happened this Sunday (Jan. 28 2024), when characters like Minister of Security Itamar Ben-Gvir (b. 1976), Finance Minister Bezalel Smotrich (b. 1980), leader of the Nachala movement Daniella Weiss (b. 1945) and the terrorist 'rabbi' Uzi Sharbaf held a conference proposing measures for ethnically cleansing Gaza and settling the land with jewish settlements [A MUST SEE!].

[Note: Nachala is the present-day successor to the Gush Emunim settlement movent that Daniella Weiss founded together with Moshe Levinger (1935-2015) in 2005. You can see her own presentation of the Nachala settler movement from 2015 on YouTube.

You have to understand, that the Gush Emunim never was disbanded, it only changed name and transformed into the present-day Nachala movement. And you have to understand, that the American-born Kach party never was disbanded, but transformed into the religiously extremist fundamentalist political Otzma Yehudit (Jewish Power) and Religious Zionist Party of Israel.

They always change their names for distraction and confusion - but the people behind are always the SAME SICK INDIVIDUALS - people like American-born Baruch Marzel (b. 1959) and American-born Yitzchak Ginsburgh (b. 1944)] - and they are ALL associated with the US American branch of the jewish ultra-orthodox extremist fundamentalist Chabad sect.

This JEWISH NAZI CONFERENCE happens of course only two days after the International Court of Justice in Den Haag opened South Africa´s genocide case against Israel.

So the story is this:

After the so-called Six-Day War in 1967; -

[which, in fact, only lasted for 5 days - but is better SOLD to the fairy-tale biblically inclined Americans and jews as a 'miraculous' 6-day war of 'labour' before the seventh day of 'holy' rest and Sabbath]

- a war which started when Israel in a sudden and aggressive pre-emptive strike attacked all their neigbouring countries, Israel suddenly found themselves occupying not only the West Bank (Jordanian-annexed), the Golan Heights (Syria) and the Gaza Strip (Egyptian occupied); Israel now also occupied the whole of the Sinai peninsula (Egypt) all the way to the Suez Canal.

An old-skool Jabotinskyite fascist Zionist dream come true!

Moshe Dayan (1915-1981), Israel´s pretty insane (and insane-looking) hard-line zionist defense minister at the time, was very much in favour of settling northeastern Sinai. General Ariel Sharon (1928-2014) took this sentiment to heart and acted upon it without having been instructed by the government (as far as we know). In January 1972 Sharon ordered the expulsion of ALL the Bedouins in the Rafah plain; bulldozing their houses and razing their orchards. The number of Bedouins expelled or affected by the expulsion were somewhere between 5,000-20,000 people. The legality of this matter went to the Israeli courts, and in the usual scam of a «democratic» legal round-dance that they always do in Israel; Ariel Sharon had to «prove» that he had a just cause for the expulsion. It was argued that to save themselves from the «terrorists» they needed to establish a «buffer zone» involving «Jewish settlement and presence» between Egypt and the Gaza Strip for «security reasons». Ever heard that before? Well, that’s an old song by now, and now you know where it all started.

Moshe Dayan had this dream of establishing an utopian jewish metropolis there, whose population would be expanded to a quarter of a million people by the year 2000. So while the Israeli bullshit court trial concerning the 'legality' of the expulsion of the Bedouins was still pending, Moshe Dayan just went ahead and asked Tel Aviv architects Yehuda Drexler and Ze’ev Drukman to draw up a blueprint and plans for his metropolis dream of the port town of Yamit.

The expulsion of the Bedouins and Israel´s plans for settlement there was the last straw for Egypt and their allies. From the end of 1972, egyptian president Anwar Sadat (1918-1981) declared that Egypt was prepared to "sacrifice a million Egyptian soldiers" to recover its lost territory and started a concentrated effort to build up its forces. In October 1973 Egypt and Syria attacked Israel, and as Israel was literally being obliterated - in two week’s time the United Nations Security Council adopted a ceasefire resolution effectively ending the hostilities. You have to bear in mind that this was during the Cold War, and both the USA and the Soviet Union had great interest in this conflict not escalating further.

So this is the historical backdrop to the establishment of the settlement of Yamit.

While the ceasefire between Egypt and Israel was in effect; Israel started a program of settlement anyway. Ever heard about that before? Well, that’s another old song by now, and now you know where it all started. Their tactics remain the same.

Now, in Israel at the time, religious zionism was getting more adherents. Many jews viewed the victory over the arabs in 1967 as a total miracle. This must mean… Messiah will come! We are the Chosen People!

Ultra-nationalist orthodox religious zionist rabbi Zvi Yehuda Kook (1891-1982) gained many followers who now began to see it as a religious duty to settle the land in order to attain redemption from their primitive tribal god Yahweh. In 1974 they formed the settler / activist and later terrorist affiliated organization Gush Emunim.

These were (and are!) fanatical religious zionists that the fascist old-school establishment zionists found they could easily accept, since these pretty insane religious kooks would go out and more than willingly do the dirty work for them.

The Israeli fascist government started encouraging religious settlers going to Yamit by «giving» them cheap land; something which attracted many opportunists as well, of course. Yamit grew, and the majority of the settlers in Yamit were in fact American and Soviet jews. Free land, man!

Many of the American jews had quite a 'romantic' perception of themselves being pioneers, just like the american «pioneers» who took the land from the Native Americans a hundred years earlier. What a time! The Mormons didn't succeed in establishing their own state, but we can!

Eventually Yamit had grown to 4,500 people, but then something happened that crushed their «pioneer» dreams: The Camp David Accords initiated by President Jimmy Carter (b. 1924) in an effort to reach a peace treaty between Egypt and Israel. Peace WAS reached, and the treaty was signed in 1978. In this treaty, it was agreed that the Israelis would withdraw from the West Bank and Gaza within 5 years, and the inhabitants would be provided «full autonomy» - i.e. Palestinian self-determination. Also, Israel would withdraw from Sinai and all the 4,500 civilian settlers would have to return to Israel within April 25 1982.

The settlers in Yamit went bananas. The religious messianic zionists went bananas. Gush Emunim went bananas. No more salvation! No redemption! No Messiah! And somebody else went bananas, too - The american-born mad ‘rabbi’ Meir Kahane (1932-1990) and his acolytes. Now, if you think Gush Emunim was extreme, Mad rabbi Kahane and his Jewish Defense League / Kach supporters was even more extreme; they were active and seasoned terrorists by then. The inhabitants of Yamit resisted their eviction from Sinai strongly and for a long time. But most of the ‘normal’ inhabitants accepted huge sums of money from the Israeli government to leave. However, the hard-core extremists of Gush Emunim and Kach did not. In fact, in the ‘last days of Yamit’ many hard-broiled kahanists and Gush Emunim settlers from the West Bank swarmed to Yamit resisting the IDF evicting them with all kinds of antics, fortifying themselves on the roofs of buildings, erecting road blocks, constant yelling, spitting and hissing; protesting and resisting in every way they knew.

The army stormed their houses using water cannons and helicopters until they had to submit and were carried away kicking and screaming. For added shock value they dressed their children with Judensternen as they left their houses with their hands in the air, crying ferociously and theatrically - all in order to evoke images of the Holocaust; sending a powerful message to the world that they were being exterminated. Kind of like that vile Israeli UN ambassador Gilad Erdan (b. 1970) when he is donning his Judensterne in the UN.

But it was not quite over yet. Meir Kahane himself went to teach the inhabitants how they really should do it. He organized a bunch of his loyal, young american followers and instructed them to barricade themselves inside a bunker. They did, and threatened to kill themself instead of giving up - just like in the jewish legend about the jews at Masada (which, by the way, is something that is patriotically instilled into IDF conscripts in huge ceremonies at Masada these days). Eventually, the suicide bunker was given up and that was finally the end of Yamit. One day before the final day for Israel’s retreat from Sinai. One day before.

Many of the settlers, kahanists and Gush Emunim now went with their pockets full of compensation money and started establishing new settlements in «free» land in Gaza and the West Bank. Hey, not only do you get free land, you get free money too! And the old school zionist fascists were quite happy to have these extremist religious fools do their dirty work for them. Hey, we can use these people in many ways to achieve our common goal… Greater Israel! From the River to the Sea! (A 1977 Likud manifesto).

So, the events of Yamit bonded the religious zionist and jewish terrorist groups tighter together in their common experience and now they started working very tightly together, learning from eachother, evolving ever more extreme.

Many prominent people that were directly involved in the Yamit experience went on to become quite influential people in Israel:

- Mad rabbi Meir Kahane (1932-1990) himself, of course. You can read his own account of the last days of Yamit here.

- Baruch Marzel (b. 1959), american-born kahanist originally from Boston. His family immigrated to Israel when he was 6 weeks old, when he was 13 he joined the Jewish Defense League. At the age of 14 he was arrested for the first of many times, and when he was 17 he was imprisoned for the first time. An early member of the Kach party, he was Meir Kahane´s parliamentary aide in Knesset and the spokesperson for Kach for 10 years. Marzel is a physically violent man who has been harassing, threatening and assaulting countless Palestinians in Hebron for decades in addition to police officers, left-wing activists, peace activists and journalists. Marzel is known to have shot and killed a 15-year-old Palestinian boy and he has been arrested for conspiring to bomb a Palestinian school. He has also advocated violence against homosexuals in Israel and calling for religious war against them. Together with Bezalel Smotrich (b. 1980) - Israel´s Finance Minister - he arranged the «Beast Parade» in 2006, leading goats and donkeys through the streets in opposition to the Jerusalem gay pride parade.

Marzel is an important and instrumental figurehead for the extreme right in Israel. After the Kach party was banned in 1994, he founded the party Jewish National Front in 2004 and ran for Knesset. After not winning enough votes to enter Knesset, he joined the National Union party and served as fellow extremist and kahanist Michael Ben-Ari´s (b. 1963) parliamentary aide. Together with Bentzi Gopstein (b. 1969) he started Lehava in 2005, a jewish supremacist organization that stricly opposes jewish assimilation, objecting to any relationships between Jews and non-Jews - in 2010 he was urging Israeli model Bar Refaeli (b. 1985) not to marry her non-jewish boyfriend at the time, Leonardo DiCaprio (b. 1974). In 2013 he ran for Knesset again, this time for the Otzma Yehudit party, which had splintered from the National Union party; again not winning enough votes to enter Knesset. In 2015 he ran for Knesset again, but the Election Committee disqualified him from running in the election because of racism. Otzma Yehudit was not extreme enough for Marzel, so in 2022 together with Michael Ben-Ari he started the process of launching a new party to the right of Otzma Yehudit. Baruch Marzel has 9 children and is a permanent resident of the illegal extremist settlement of Tel Rumeida in Hebron, West Bank, Occupied Palestine.

- Moshe Levinger (1935-2015), student of Zvi Yehuda Kook (1895-1982) and a rabbi. This Tobias Fünke lookalike (in his younger years) was far from funny. Levinger was the most influential leader of the messianic Gush Emunim settler movement and is personally responsible for the establishment of countless illegal settlements and outposts in the occupied West Bank. Moshe was central in all illegal settler activities in Hebron ever since 1968 and "founded" the illegal settlement of Kiryat Arba on the outskirts of the town in 1971 (In reality, however, it was the Israeli government and the IDF that founded the settlement). Kiryat Arba is where you will find the residence of notable extremists like Itamar Ben-Gvir (b. 1976), Baruch Goldstein (1956-1994) and Bentzi Gopstein (b. 1969). Levinger was well known for walking the streets of Hebron with his Uzi harassing and intimidating people and was arrested more than 10 times for incitement and violent rioting. In 1988 he killed a Palestinian shop owner; for this crime he served 3 months in Israeli jail. Together with Daniella Weiss (b. 1945), Levinger founded the Nahala settler movement in 2005. Nahala is the present-day successor to the Gush Emunim.

- Yisrael Ariel (b. 1939), number two in the Kach party after Meir Kahane. Together with his brother Yaakov, these two were the leaders of the Yamit settlement. Yisrael Ariel was the rabbi ‘ordering’ and legitimizing his fanatical followers to go out and establish illegal settlements like Hatzer Adar and Atzmona in the Sinai, to name but a few. The Atzmona settlement was renamed Bnei Atzmon and relocated to the illegal settlements of Gush Katif in the Gaza Strip in 1982. These days, he is propagating the re-introduction of ancient Sanhedrin rabbinical courts in Israel. Arrested several times; in the early 80s for sedition because he was planning to dig a tunnel under the Al-Aqsa mosque in order to take it over and turn it into a jewish settlement. Today, he is the chief rabbi in the state-sponsored Temple Institute, which has a focus on educating children on jewish temples and the establishing of the Third Temple on the Temple Mount in Jerusalem.

- Yaakov Ariel (b. 1937). Together with his brother Yisrael, these two were the leaders of the Yamit settlement. Like his brother, Yaakov was a student of Zvi Yehuda Kook (1891-1982) and is considered one of the oldest and most influential current rabbis within religious zionism. He served in the IDF as rabbi with the Armored Brigade and the Givati Brigade and was awarded the Yom Kippur War medal.

- Orit Strook (b. 1960), who is the fourth and current ‘Minister of Settlements and National Missions’ in Israel. [Note: The first settlement minister (2020) was Tzipi Hotovely (b. 1978), the current vile Israeli ambassador to the UK. The third settlement minister (2021-2022) was Naftali Bennett (b. 1972); prime minister of Israel 2021-2022.]

- The terrorist Yehuda Richter (b. 1962) was one of the suicide jews in the Yamit bunker, and in 2005 as a response to the Israeli disengagement from Gaza, he went on to form an extremist group opposing the eviction of the Israeli settlements in Gaza - particularly Gush Katif, which has come to symbolize the ‘Yamit of our times’ in the minds of these people.

Both the ‘Holocaust’ of Yamit and Gush Katif have their own dedicated museums in Israel - just check out the Yamit Museum and the Gush Katif museum.

And that is why we now are witnessing ethnic cleansing congresses in Israel.

They are still yearning.

Yearning for Yamit!

Number of Israeli settlers in occupied Palestine since 1967:

- 1972: 10,531

- 1983: 99,795

- 1993: 269,200

- 2004: 423,913

- 2007: 467,478

- 2010: 512,769

- 2018: 645,800

- 2020: 671,700

- 2022: 733,000

- 2024: 800,000 (estimate)

Understand Your Man by Thomas Hawk

10

G-6164 92212 1100 up @ Soldridge 3 by Brian Denton

6

Understandable that the 9F makes easy work of the 1/60 gradient .

Understand the truth by Riccardo Villani

22 8

#facethestreet project

riccardovillani.tumblr.com/

Hope You Understand by Mandy Moo Hallison

19

Hair - Aimee - Catwa

Head - Catya - Catwa

Skin - Keira - Belleza

Shirt - Ingrid Top - The Little Bat @ Suicide Dollz

Skirt - Yulia Skirt - Blasphemic @ Darkside 2 Fashion Fair

Shoes - Chyna Lace up Platform Boot - Livalle

moolala13.weebly.com/fashion-blog/hope-you-understand

the last visual artworks of Paul Jaisini unfortunately photos only ny usa 2001 by yustas k. gottlieb

55 2

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 technologicalexplosion, 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,

Easy to understand by Gérard

8 9

pas chier le chien

>

Noumea

New Caledonia

WNOC Torpoint Depot 240581 by return2layerroad

20

I understand that the former Western National depot at Torpoint is due to close today and here we have a view scanned from an old slide which I think I took around 1981, but I could be wrong. I know the LHs carried the early FERRYBUS boards/stickers with the Cornwall and Plymouth Coats of Arms. On the open parking area situated to the right of the depot, a couple of ECW bodied Bristol LHs 1607 (GDV 456N) and 1594 (NFJ 594M) are accompanied by a pair of Bristol FLFs 2090 (BOD 32C) and 2026 (406 PTA). By this date the FLFs were being used on school work. Today, this is almost certainly one of the last former Cornish WNOC depots still occupying the same location and the original building.

Thanks to my good friend who was with me at the time, I can now give an accurate date for this photo/slide.

Frederiksholm Canal by Jacob Surland Fine Art Photographer

2

On this summer's evening, I took a tour in Copenhagen. The light was rare and beautiful. Not dominant in colors, but rather in a subtle gray and purple colors. I got several good shots on this evening.

--Jacob Surland

Easy to read and understand tutorials on

www.caughtinpixels.com

Art sale as limited prints. Photo by Jacob Surland, Licensed Creative Commons non-commercial v4.0. No Derivative Work. Protected by Pixsy.com.

Yellow Warbler? Wilson's Warbler? Riverwalk (east side) between Broadway and Soquel, Santa Cruz, California, USA by Mac

12 6

A friend was showing me where he had seen a Yellow Warbler. We got there, and did a little head tilt which birders understand to mean, "You heard it didn't you?" I stealthily took out my iPhone and activated Merlin, and instantly Yellow Warbler popped up. So I nodded my head about 2mm, indication that we had found it.

Later, I uploaded my trophy to iNaturalist where my ID of Yellow Warbler was disagreed with. As it turns out Yellow Warblers are expected to have black bills. But why admit I was wrong? I went to All about birds where the seeds of hope began to grow. In an example photo

www.allaboutbirds.org/guide/Yellow_Warbler/photo-gallery/...

You may have to click past a bird or two there was a Warbler that looked sort of like mine. I was labeled "Immature Northern."

If I haven't lost you already you may be interested to know that the Wilson's Warbler, "Female / Immature" looks a little like my bird as well. See it here if you can:

www.allaboutbirds.org/guide/Wilsons_Warbler/photo-gallery...

While I am mindful of the fact that I am almost always wrong, I would feel bad for my friend if I had to break the news to him. In a word:

Yellow Warbler, or Wilson's Warbler? Please help with this puzzling bird!

Day 124 of 365. - "Minneapolis Airport" by Sam Christopher Cornwell

22 63

I was on a flight back from Las Vegas that stopped over in Minneapolis for a connecting flight. For the three hours while I was at the airport I took photos.

I don't expect everyone to understand what I'm trying to do here, I agree it can be pretty boring on first or second glance. There's no pretty trees or glorious sunset, that's just not my cup of custard. This is the sort of thing I like to do, that I enjoy watching. Moments like this in airports are everywhere and just not explored enough.

It's a social documentary in a photo, the title probably gives that away. This is the sort of scene that I wait and wait for. Being in the right position to take a straight on, or 2D picture that has depth. In some ways, very similar to the very first upload on this stream.

Things I'd like you to notice: The appropriate use of thirds, subtle reflections and lack of any distortion at the edge of the frames. But mostly, I'd like you to make your own mind up about it and tell me what you notice that I may have not.

I'd also like to mention Arty in the same breath. It is reminiscent of his quirky Martin Parr like style street photography, although he doesn't lack the words that I do.

Canon 1Dm3, f/4, 24-105mm@65mm, ISO500.

Beast Boy - 2.6 - Dead End by Enøshima

15 1

Like I understand how, but not the why. Sure, New York's highly populated, so it'd be easy for her to lose us in the crowds. But it seems like there's more to it than that. Really wish I was better at this whole detective thing. I've always been more for comic relief myself. Anyways, that's enough rambling for now. That won't help us find the girl. The portal tech the girl has looks somewhat familiar. But it can't be who I'm thinking of, as he's most likely dead. Though I guess stranger things have happened.

Unfortunately, even though it's about 1:00 in the morning, there's still lots of people around. I'm just barely able to spot the witness ahead of us, taking a right just past the Paramount Hotel, onto 8th Avenue. Shifting into a bloodhound, I get a quick whiff of her scent--- Okay, it's not like that.. It's just easier to track and follow her, based off the scent. Especially since bloodhounds have around 230 million scent receptors. Sometimes, that's 230 million too many, but right now, it's just perfect.

Tara follows behind me, as I run down the street, with the two of us weaving through the oncoming crowds. Not surprisingly, some give me strange looks, while a couple of photographers stop and take my picture. I can't say I blame them. It isn't every day you see a green bloodhound walking down the streets of New York. Guess there's a few Space Trek fans, as I hear someone say Tork.

"Gar Logan! Can I get your autograph? I'm a huuuge fan" A girl with striking blonde and green hair asks, suddenly stepping in front of me, pulling out a notepad.

"Sorry---" I say, turning back to human form, waiting for her to answer.

"Chloe" She responds with a smile, twirling her hair.

"Right.. Well sorry Chloe, as much as I'd love to, I'm kind of on a time crunch here. Got places to be, and all that. You get that right? Besides, I don't even have a pen on me. But if you want to give me your number, I'll be sure to get back to you." I reply, falling back on old habits. And of course, ready for that possibility, she pulls out a pen.

Suddenly it feels like someone's staring daggers at me. Sure enough, as I turn my head, Tara's giving me an ice-cold glare. She looks like she's gonna hit me with a boulder if I don't start moving.

"Alright alright, we're going!!" I say, quickly signing the notepad, and giving a wave before leaving. Back to following the mystery girls' scent. I transform back into a bloodhound, and follow the trail. Unfortunately, that was long enough of a distraction that I can no longer see the girl ahead of me.

I notice Tara's still mad about Chloe, but honestly I'm not even sure why. It's not like we're even a couple or anything, no matter how much I wish that was the case.

Suddenly, as we turn the corner, the scent trail just stops.

"Great.. That's just great. The trail ends here." I say with a groan after shifting back to my human form.

"Well, what now?"

"To be honest, I don't know. She was the one lead we had. She saw what happened."

"Oh my god, no way! Garfield Logan, you should've told me you were in town!" I hear from behind me, but it's not Tara's voice. Turning around, it's Jillian Jackson.. My first, and only ex-girlfriend, from back when I was still acting regularly. Surprisingly, we ended things on good terms, and we're still pretty good friends. Though she's now sporting pink and blue pigtails, instead of her natural blonde hair.

"Wasn't expecting to be here if I'm being honest. Just trying to track someone down. Superhero business ya know?" I say with a shrug, and Tara just looks back and forth between me and Jillian. "Right, sorry, you two haven't met. Jillian, this is Terra. Terra, this is Jillian Jackson, my ex girlfriend."

"Oh.." Is all Tara responds with.

"Don't worry, what Gar here failed to mention is that we're still on great terms. Sorry to hear about Rita by the way Gar. She was always kind to me the couple of times we talked."

Tara mutters something, but it's indistinguishable, so I just try to ignore it.

"Thanks Jill. Sorry I haven't reached out since.. It's just been tough." I reply, bowing my head down. Tara puts her hand on my shoulder, as a way to try to give some sort of reassurance.

"Don't worry about it BB. Everyone grieves for someone they've lost in different ways. You were there for me when my dad passed, so just know I'm always here for you. If space is what you need, that's fine too." She says with a smile, before continuing. "So how exactly did you two meet?"

"Oh, you know, just the typical---"

Tara speaks up, interrupting me. "The two of us met in Markovia, just a few months ago."

"Wait, you actually went to Markovia? That's awesome!"

"Yeah, I was hoping it'd give me some sort of clarity."

"Andd?"

"No such luck on the clarity front. But, not to toot my own horn or anything, I did end up saving Terra, along with several other metahumans. Took the Murder of Crows, and one of the other local gangs down in the process too!"

"Actually, the Murder of Crows got away.. And you didn't take them all down by yourself. Without me helping, you would've died at least 3 times over. There's also the fact that the first thing I saw when I woke up was you, gawking at me."

"I was getting there, but you didn't let me finish my story."

"Right.." Tara teases, before continuing. "Anyways, after that, we talked for a few hours, getting to know each other, before stopping a robbery. The robbers turned out to be a few friends of mine. We've kind of just been teaming up ever since."

Tara leaves out the part of her father, King Viktor of Markovia's death, and I don't blame her for that.

I yawn causing Jillian to speak up once again. "Looks like you two need some sleep. Come on, I know just the place. And, along the way, I can dish all the dirt on our little shape shifter here. All the embarrassing stories he'd rather forget. Like the time he--"

"And we should be leaving!!" I joke, interrupting before it goes any further.. But unfortunately, I'm too exhausted to really put up a fight.

-----------------------------------------

The Next Day

I wake up, and my first instinct is to look at the clock. It reads 12:15pm. Don't get me wrong, I like sleeping in as much as the next guy, but I still have to clear my name. I get up off the air mattress that Jill laid out for me, and make my way to the kitchen. The apartment aesthetic itself is what I'd expect from Jillian. Bright, and colorful. Vibrant turquoise and orange stripes on the walls. Looks like that hasn't changed at all. I notice that there's a note on the fridge addressed to me.

"Looks like they went out for a bit" I mutter to myself after reading the note. The thought of my ex, being alone with the girl I'm interested in, now that's scary. Don't even want to think about what embarrassing stories she's telling Tara. Noticing there really isn't anything to eat, I make my way back into the living room, plopping myself on the couch. Grabbing the remote I turn on the TV.

"Bringing you live to the scene at New Rochelle High School, where a beast has rampaged through the school. Garfield Logan, formerly known as Beast Boy of the Doom Patrol, arrived shortly after to take on this 'Wildebeest', but given recent events, is he doing more harm than good-by coming here? We'll be sure to keep you updated, as we get them." It then cuts back to the regular news anchor.

There it is again. The person claiming to be me. I'm sick, and tired of my name getting dragged through the mud by some pretender. It's time I put a stop to this once and for all. New Rochelle High, here we come.

(Thomas King Winner in the month of September 2017) by Aglez the city guy ☺

17 3

_______ "WHY ARE WE DOING THIS"______

Please understand that this certificate is part of a work of appreciation that we do together, my wife and I.

The photos that I choose, enter into a photographic quality analysis within the different modalities and if they are artistically fit within what is "photography".

"My wife's job is to analyze the effect of

the so-called visual balance and the process of psychic acceptance within the natural phenomena of consciousness. "

"My job is to analyze the quality of photography, its framing, dynamics, artistic style, perspective, color balance, light compensation and especially the edition that plays an important role."

* (This is to give you some kind of appreciative motivation in your photographs, "something that I consider of great value for everyone who receives a certificate"

This critical work that we do in private and without attacking the sensitivity of people, is done between my wife and me.

We are based on an emotional motivation and of course without any kind of monetary interest or recognition.) *

"The Critic is a "Group of appreciation and constructive criticism"

------------------------------*The Critic*-----------------------------

_________"POR QUE HACEMOS ESTO"________

Por favor, entiendan que este certificado es parte de un trabajo de apreciacion que hacemos en conjunto mi esposa y yo.

Las fotos que yo escojo, entran en un analisis de calidad fotografica dentro de las distintas modalidades y si son aptas artísticamente dentro de lo que es "fotografia".

"El trabajo que hace mi esposa es el de analizar el efecto del

lo llamado visual balance y el proceso de aceptación psíquica dentro de los fenómenos naturales de la consciencia."

"Mi trabajo es el de analizar la calidad de la fotografia, su encuadre, dinámica, estilo artístico, perspectiva, balance del color, compensación de la luz y principalmente la edicion que juega un papel importante."

*(Esto es para darles a ustedes algun tipo de motivación apreciativa en vuestras fotografías, "cosa que considero de gran valor para cada cual que reciba un certificado"

Este trabajo de crítica que lo hacemos en privado y sin atacar la sensibilidad de las personas, es hecho entre mi esposa y yo.

Nos basados en una motivación anímica y como es natural sin ningún tipo de interés monetario o de reconocimiento.)*

El Critico es un "Grupo de apreciacion y crítica constructiva"

----------------------------*El Critico*---------------------------

Andrea Erl. Third place in monochrome and photography focus decision. by Aglez the city guy ☺

23 5

Please understand that this certificate is part of a work of appreciation that I do between my wife and me.

The photos that I choose, enter into a photographic quality analysis within the different modalities and if they are artistically fit within what is "photography".

My job is to analyze the quality of the photo, its framing, dynamics, artistic style, perspective, color balance, light compensation and mainly the edition.

The work my wife does is to analyze the effect of the visual balance and the process of psychic acceptance within the natural phenomena of consciousness.

This is to give you some kind of appreciative motivation in your photographs, "which I consider to be of great value for everyone who receives a certificate"

This critical work that we do in private and without attacking the sensitivity of people, is done between my wife and me.

We are based on an emotional motivation and of course without any kind of monetary or recognition interest.

The Critic is a "Group of appreciation and constructive criticism"

Por favor, entiendan que este certificado es parte de un trabajo de apreciacion que hago entre mi esposa y yo.

Las fotos que yo escojo, entran en un analisis de calidad fotografica dentro de las distintas modalidades y si son aptas artísticamente dentro de lo que es "fotografia".

Mi trabajo es analizar la calidad de la foto, su encuadre, dinámica, estilo artístico, perspectiva, balance del color, compensación de la luz y principalmente la edicion.

El trabajo que hace mi esposa es analizar el efecto del visual balance y el proceso de aceptación psíquica dentro de los fenómenos naturales de la consciencia.

Esto es para darles a ustedes algun tipo de motivación apreciativa en vuestras fotografías, "cosa que considero de gran valor para cada cual que reciba un certificado"

Este trabajo de crítica que lo hacemos en privado y sin atacar la sensibilidad de las personas, es hecho entre mi esposa y yo.

Nos basados en una motivación anímica y como es natural sin ningún tipo de interés monetario o de reconocimiento.

El Critico es un "Grupo de apreciacion y crítica constructiva"

_______________________________________

Position number three is a privileged position, which tells you that you must understand why you are there.

In many competitions of art, photographs, athletics, etc., this position reiterates that you must attend more about what possibly happened to you, and how you should improve yourself. But this position tells you that you no lost the competition, but that you are a possible chosen to be a winner of the first or second place in the near future.

_______________________________________

La posición número tres es una posición privilegiada, que te dice que debes de entender por que tu estas ahi.

En muchas competencias de arte, fotografías, atletismo, etc, esta posición te reitera que debes de atender mas sobre lo que posiblemente te sucedio, y como debes de mejorarte. Pero esta posición no te dice que perdiste la competencia, si no que eres un posible elegido para ser un ganador del primero o segundo lugar en un futuro próximo.

_______________________________________

Do you understand? by emil heinrich

14

1000002039

Paul Jaisini Street by GIG international with respect to Paul Jaisini NY USA 2015 by Ellen Yustas Kotz-Gottlieb

49