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“According to Jungian analytical psychology, stepping on dog poop in a dream is interpreted as an aegis of incoming wealth.
In reality, however, stepping on dog poop just makes you curse: ‘Oh, shit!’
Yet in 21st-century cities, the chance of stepping on a bull’s dung is almost zero.”
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Kentmere 100 Film
Thanks to everyone for visits , comments , awards and invitations, I appreciate your feedback very much
Analytical Odysseys.
Предполагаемое знание феноменальных определений диссоциации, узнаваемая видимость исследований детерминированности сознания,
å utpeke øyeblikk sannheter inneholder viktige punkter for å forstå smarte brennende grunner tilfredshet innbefatter undersøkelser vitenskap,
disaccordi giustificati distinguendo contraddizioni osservazioni vuote scetticismo oggetti interi movimenti interi sistemi esistenza astratta,
ٹھوس جانکاری فوری حدود کی باتوں کا حواس خالص مختلف طریقوں سے پیچیدہ روابط اہم فصلوں کی عکاسی کے معاملات,
podstawowe uniwersalne prawdy obojętne relacje zachowujące zrozumiałe słowa uwierzytelnienia świadomość twierdzenia filozoficzne,
experiencias sensoriales que afirman sabidurías esferas profundas que devuelven sentidos dialécticos punteros del supuesto aprendizaje de la pluralidad contraria,
媒体の無関心な認識を考慮する極度の内なることは法を変えること規則を否定すること側面楽しむこと基礎変わらないこと規則否定規則依存性側面楽しさ基盤変わらない移動活動の本質的な機能動物の惨めさ.
Steve.D.Hammond.
Mark this day as it's the day I managed to get 10 Million views on my flickr account. It's been really busy this year and I managed to get all this views in just under a year. Thanks all for your appreciation and for spending time looking at my pictures and liking them and commenting on them.
This is certainly a great milestone.
Thanks for all the views and the likes and keep spreading the love for photography.
I've created my own tool to monitor all the likes and views of my account. The tool is still under construction but you can follow progress here:
You can find my solution on Github.
If you want to raise any issue on the app, you can do it here:
github.com/JordiCorbilla/FlickrPhotoStats/issues
Description of the application here
Thank you all for your appreciation.
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© 2015 Jordi Corbilla - All Rights Reserved.
Do not use any of my images
without permission.
I used to have a very analytical approach to writing. In my old way of thinking, you started at the beginning and concluded at the end. That kind of thinking tends to really stymie creative expression. Much the same as getting so mired in the technical aspects of photography that you lose sight of the goal. I vividly recall sitting down to write something, and totally bogging down attempting to write the perfect lead sentence in my head. Sometimes 45 minutes would tick off the clock and all I had to show for it was a blinking cursor where the first letter was yet to be typed. A total exercise in frustration that in itself was guaranteed to inhibit further progress. Somewhere along the way I decided to just hurl myself at storytelling. Literally just jump in somewhere and allow it to go where it would. It's not unlike my approach to photography and I think sometimes it's why I'm able to mesh the visual with the written narrative. The act of writing has become less about thinking of words and more about trying to limit the torrent of thoughts that seem to appear on the screen. Of course some days are better suited to creativity than others. Sometimes I just want to go mow the lawn or do something physical rather than mental, or find a task that requires little thought. I see this as a way to recharge the creative batteries. Invariably once I engage in a non-creative task, my mind begins to go into overdrive, as thoughts and ideas swirl about. Sometimes things gel; other times it's a simple phrase or meme that gets stuck in my mind. Sooner or later it will find an outlet. I'm often amazed at how these little flicker narrative spin up, seemingly out of thin air. Once a photo posts, I just sit down and bang out some random thoughts with little or no forethought. It just goes where it goes in the five to ten minutes allotted to the task. I find any more than that and it sounds over worked and not spontaneous. If there's a tie in to the photo, great. If not, still great. In this case, I was walking around in my backyard yesterday now that the snow is melting. The area is littered with debris and fallen branches and limbs. Edging may way into the woodland, I came across some frighteningly large bits, ones that surely would have caused injury or worse had they landed on someone. Each year I think all the deadwood has fallen, but each year more is produced. It's a cycle without end. Anyway the deadwood meme is what stuck in my head and it reminded me of this scene at a local abandonment. I recall gravitating to the fallen branches protruding from the snow. It was a visual subtlety that greatly enhanced the mood and atmosphere.
Look at this, a second post on here within two weeks of my last! That hasn't happened in a while, but I'm hoping to change that and be a little more active on here as I still love LEGO. I just haven't had much time for it recently, but I'll be trying to do my best to build more. Anyway, this is an older build, which was actually built for and displayed at Bricks Cascade 2018. I'm not happy with the picture, but they all turned out fairly meh and this has long since been scrapped. Hope you guys enjoy it despite that!
The Jack Welch College of Business and the Office of Alumni Engagement presented “Careers in Analytics” on April 10, 2019, at the Martire Forum. The alumni panel featured Justin Baigert ’05, vice president, Data & Analytics at GE, Joseph Lucibello ’11, senior manager, data scientist at WWE and Suzanne May ’13, research manager at Purchased. The moderator was Khawaja Mamun, associate professor of economics. Photo by Mark F. Conrad
The Jack Welch College of Business and the Office of Alumni Engagement presented “Careers in Analytics” on April 10, 2019, at the Martire Forum. The alumni panel featured Justin Baigert ’05, vice president, Data & Analytics at GE, Joseph Lucibello ’11, senior manager, data scientist at WWE and Suzanne May ’13, research manager at Purchased. The moderator was Khawaja Mamun, associate professor of economics. Photo by Mark F. Conrad
Refurbishments are in the heart of NYC and loads of marshals try to stop you along the way.
Thank you all for your appreciation.
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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,
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A Royal Air Force Lockheed Martin F-35 "Lightning II", U.S. Air Force Boeing F-15E "Strike Eagle", and French air force Dassault "Rafale" fly behind a U.S. Air Force Boeing KC-135 "Stratotanker" from the 100th Air Refueling Wing during Exercise Point Blank over the English Channel, Nov. 27, 2018. Training with NATO allies like the U.K. and France improves interoperability and demonstrates the United States’ commitment to regional security. Exercise Point Blank also represents an opportunity to enhance interoperability and integration between allied fourth and fifth-generation fighter aircraft.
From Wikipedia, the free encyclopedia
The Lockheed Martin F-22 Raptor is a fifth-generation, single-seat, twin-engine, all-weather stealth tactical fighter aircraft developed for the United States Air Force (USAF). The result of the USAF's Advanced Tactical Fighter (ATF) program, the aircraft was designed primarily as an air superiority fighter, but also has ground attack, electronic warfare, and signal intelligence capabilities. The prime contractor, Lockheed Martin, built most of the F-22's airframe and weapons systems and conducted final assembly, while Boeing provided the wings, aft fuselage, avionics integration, and training systems.
The aircraft was variously designated F-22 and F/A-22 before it formally entered service in December 2005 as the F-22A. Despite its protracted development and various operational issues, USAF officials consider the F-22 a critical component of the service's tactical air power. Its combination of stealth, aerodynamic performance, and situational awareness enable unprecedented air combat capabilities.
Service officials had originally planned to buy a total of 750 ATFs. In 2009, the program was cut to 187 operational production aircraft due to high costs, a lack of clear air-to-air missions due to delays in Russian and Chinese fighter programs, a ban on exports, and development of the more versatile F-35. The last F-22 was delivered in 2012.
Development
Origins
In 1981, the U.S. Air Force identified a requirement for an Advanced Tactical Fighter (ATF) to replace the F-15 Eagle and F-16 Fighting Falcon. Code named "Senior Sky", this air-superiority fighter program was influenced by emerging worldwide threats, including new developments in Soviet air defense systems and the proliferation of the Su-27 "Flanker"- and MiG-29 "Fulcrum"-class of fighter aircraft. It would take advantage of the new technologies in fighter design on the horizon, including composite materials, lightweight alloys, advanced flight control systems, more powerful propulsion systems, and most importantly, stealth technology. In 1983, the ATF concept development team became the System Program Office (SPO) and managed the program at Wright-Patterson Air Force Base. The demonstration and validation (Dem/Val) request for proposals (RFP) was issued in September 1985, with requirements placing strong emphasis on stealth and supercruise. Of the seven bidding companies, Lockheed and Northrop were selected on 31 October 1986. Lockheed teamed with Boeing and General Dynamics while Northrop teamed with McDonnell Douglas, and the two contractor teams undertook a 50-month Dem/Val phase, culminating in the flight test of two technology demonstrator prototypes, the YF-22 and the YF-23, respectively.
Dem/Val was focused on risk reduction and technology development plans over specific aircraft designs. Contractors made extensive use of analytical and empirical methods, including computational fluid dynamics, wind-tunnel testing, and radar cross-section calculations and pole testing; the Lockheed team would conduct nearly 18,000 hours of wind-tunnel testing. Avionics development was marked by extensive testing and prototyping and supported by ground and flying laboratories. During Dem/Val, the SPO used the results of performance and cost trade studies conducted by contractor teams to adjust ATF requirements and delete ones that were significant weight and cost drivers while having marginal value. The short takeoff and landing (STOL) requirement was relaxed in order to delete thrust-reversers, saving substantial weight. As avionics was a major cost driver, side-looking radars were deleted, and the dedicated infra-red search and track (IRST) system was downgraded from multi-color to single color and then deleted as well. However, space and cooling provisions were retained to allow for future addition of these components. The ejection seat requirement was downgraded from a fresh design to the existing McDonnell Douglas ACES II. Despite efforts by the contractor teams to rein in weight, the takeoff gross weight estimate was increased from 50,000 lb (22,700 kg) to 60,000 lb (27,200 kg), resulting in engine thrust requirement increasing from 30,000 lbf (133 kN) to 35,000 lbf (156 kN) class.
Each team produced two prototype air vehicles for Dem/Val, one for each of the two engine options. The YF-22 had its maiden flight on 29 September 1990 and in flight tests achieved up to Mach 1.58 in supercruise. After the Dem/Val flight test of the prototypes, on 23 April 1991, Secretary of the USAF Donald Rice announced the Lockheed team as the winner of the ATF competition. The YF-23 design was considered stealthier and faster, while the YF-22, with its thrust vectoring nozzles, was more maneuverable as well as less expensive and risky. The aviation press speculated that the Lockheed team's design was also more adaptable to the U.S. Navy's Navalized Advanced Tactical Fighter (NATF), but by 1992, the Navy had abandoned NATF.
Production and procurement
As the program moved to full-scale development, or the Engineering & Manufacturing Development (EMD) stage, the production version had notable differences from the YF-22, despite having a broadly similar shape. The swept-back angle of the leading edge was decreased from 48° to 42°, while the vertical stabilizers were shifted rearward and decreased in area by 20%. To improve pilot visibility, the canopy was moved forward 7 inches (18 cm), and the engine intakes moved rearward 14 inches (36 cm). The shapes of the wing and stabilator trailing edges were refined to improve aerodynamics, strength, and stealth characteristics. Increasing weight during development caused slight reductions in range and maneuver performance.
Prime contractor Lockheed Martin Aeronautics manufactured the majority of the airframe and performed final assembly at Dobbins Air Reserve Base in Marietta, Georgia; program partner Boeing Defense, Space & Security provided additional airframe components as well as avionics integration and training systems. The first F-22, an EMD aircraft with tail number 4001, was unveiled at Marietta, Georgia, on 9 April 1997, and first flew on 7 September 1997. Production, with the first lot awarded in September 2000, supported over 1,000 subcontractors and suppliers from 46 states and up to 95,000 jobs, and spanned 15 years at a peak rate of roughly two airplanes per month. In 2006, the F-22 development team won the Collier Trophy, American aviation's most prestigious award. Due to the aircraft's advanced nature, contractors have been targeted by cyberattacks and technology theft.
The USAF originally envisioned ordering 750 ATFs at a total program cost of $44.3 billion and procurement cost of $26.2 billion in fiscal year (FY) 1985 dollars, with production beginning in 1994. The 1990 Major Aircraft Review led by Secretary of Defense Dick Cheney reduced this to 648 aircraft beginning in 1996. By 1997, funding instability had further cut the total to 339, which was again reduced to 277 by 2003. In 2004, the Department of Defense (DoD) further reduced this to 183 operational aircraft, despite the USAF's preference for 381. A multi-year procurement plan was implemented in 2006 to save $15 billion, with total program cost projected to be $62 billion for 183 F-22s distributed to seven combat squadrons. In 2008, Congress passed a defense spending bill that raised the total orders for production aircraft to 187.
The first two F-22s built were EMD aircraft in the Block 1.0 configuration for initial flight testing, while the third was a Block 2.0 aircraft built to represent the internal structure of production airframes and enabled it to test full flight loads. Six more EMD aircraft were built in the Block 10 configuration for development and upgrade testing, with the last two considered essentially production quality jets. Production for operational squadrons consisted of 37 Block 20 training aircraft and 149 Block 30/35 combat aircraft; one of the Block 35 aircraft is dedicated to flight sciences at Edwards Air Force Base.
The numerous new technologies in the F-22 resulted in substantial cost overruns and delays. Many capabilities were deferred to post-service upgrades, reducing the initial cost but increasing total program cost. As production wound down in 2011, the total program cost is estimated to be about $67.3 billion, with $32.4 billion spent on Research, Development, Test and Evaluation (RDT&E) and $34.9 billion on procurement and military construction (MILCON) in then year dollars. The incremental cost for an additional F-22 was estimated at about $138 million in 2009.
Ban on exports
The F-22 cannot be exported under US federal law to protect its stealth technology and other high-tech features. Customers for U.S. fighters are acquiring earlier designs such as the F-15 Eagle and F-16 Fighting Falcon or the newer F-35 Lightning II, which contains technology from the F-22 but was designed to be cheaper, more flexible, and available for export. In September 2006, Congress upheld the ban on foreign F-22 sales. Despite the ban, the 2010 defense authorization bill included provisions requiring the DoD to prepare a report on the costs and feasibility for an F-22 export variant, and another report on the effect of F-22 export sales on U.S. aerospace industry.
Some Australian politicians and defense commentators proposed that Australia should attempt to purchase F-22s instead of the planned F-35s, citing the F-22's known capabilities and F-35's delays and developmental uncertainties. However, the Royal Australian Air Force (RAAF) determined that the F-22 was unable to perform the F-35's strike and close air support roles. The Japanese government also showed interest in the F-22 for its Replacement-Fighter program. The Japan Air Self-Defense Force (JASDF) would reportedly require fewer fighters for its mission if it obtained the F-22, thus reducing engineering and staffing costs. However, in 2009 it was reported that acquiring the F-22 would require increases to the Japanese government's defense budget beyond the historical 1 percent of its GDP. With the end of F-22 production, Japan chose the F-35 in December 2011. Israel also expressed interest, but eventually chose the F-35 because of the F-22's price and unavailability.
Production termination
Throughout the 2000s, the need for F-22s was debated, due to rising costs and the lack of relevant adversaries. In 2006, Comptroller General of the United States David Walker found that "the DoD has not demonstrated the need" for more investment in the F-22, and further opposition to the program was expressed by Secretary of Defense Donald Rumsfeld, Deputy Secretary of Defense Gordon R. England, Senator John McCain, and Chairman of U.S. Senate Committee on Armed Services Senator John Warner. The F-22 program lost influential supporters in 2008 after the forced resignations of Secretary of the Air Force Michael Wynne and the Chief of Staff of the Air Force General T. Michael Moseley.
In November 2008, Secretary of Defense Robert Gates stated that the F-22 was not relevant in post-Cold War conflicts such as irregular warfare operations in Iraq and Afghanistan, and in April 2009, under the new Obama Administration, he called for ending production in FY2011, leaving the USAF with 187 production aircraft. In July, General James Cartwright, Vice Chairman of the Joint Chiefs of Staff, stated to the Senate Committee on Armed Services his reasons for supporting termination of F-22 production. They included shifting resources to the multirole F-35 to allow proliferation of fifth-generation fighters for three service branches and preserving the F/A-18 production line to maintain the military's electronic warfare (EW) capabilities in the Boeing EA-18G Growler.[60] Issues with the F-22's reliability and availability also raised concerns. After President Obama threatened to veto further production, the Senate voted in July 2009 in favor of ending production and the House subsequently agreed to abide by the 187 production aircraft cap. Gates stated that the decision was taken in light of the F-35's capabilities, and in 2010, he set the F-22 requirement to 187 aircraft by lowering the number of major regional conflict preparations from two to one.
In 2010, USAF initiated a study to determine the costs of retaining F-22 tooling for a future Service Life Extension Program (SLEP).[66] A RAND Corporation paper from this study estimated that restarting production and building an additional 75 F-22s would cost $17 billion, resulting in $227 million per aircraft, or $54 million higher than the flyaway cost. Lockheed Martin stated that restarting the production line itself would cost about $200 million. Production tooling and associated documentation were subsequently stored at the Sierra Army Depot, allowing the retained tooling to support the fleet life cycle. There were reports that attempts to retrieve this tooling found empty containers, but a subsequent audit found that the tooling was stored as expected.
Russian and Chinese fighter developments have fueled concern, and in 2009, General John Corley, head of Air Combat Command, stated that a fleet of 187 F-22s would be inadequate, but Secretary Gates dismissed General Corley's concern. In 2011, Gates explained that Chinese fifth-generation fighter developments had been accounted for when the number of F-22s was set, and that the U.S. would have a considerable advantage in stealth aircraft in 2025, even with F-35 delays. In December 2011, the 195th and final F-22 was completed out of 8 test EMD and 187 operational aircraft produced; the aircraft was delivered to the USAF on 2 May 2012.
In April 2016, the House Armed Services Committee (HASC) Tactical Air and Land Forces Subcommittee proposed legislation that would direct the Air Force to conduct a cost study and assessment associated with resuming production of the F-22. Since the production halt directed in 2009 by then Defense Secretary Gates, lawmakers and the Pentagon noted that air warfare systems of Russia and China were catching up to those of the U.S. Lockheed Martin has proposed upgrading the Block 20 training aircraft into combat-coded Block 30/35 versions as a way to increase numbers available for deployment. On 9 June 2017, the Air Force submitted their report to Congress stating they had no plans to restart the F-22 production line due to economic and operational issues; it estimated it would cost approximately $50 billion to procure 194 additional F-22s at a cost of $206–$216 million per aircraft, including approximately $9.9 billion for non-recurring start-up costs and $40.4 billion for aircraft procurement costs.
Upgrades
The first aircraft with combat-capable Block 3.0 software flew in 2001. Increment 2, the first upgrade program, was implemented in 2005 for Block 20 aircraft onward and enabled the employment of Joint Direct Attack Munitions (JDAM). Certification of the improved AN/APG-77(V)1 radar was completed in March 2007, and airframes from production Lot 5 onward are fitted with this radar, which incorporates air-to-ground modes. Increment 3.1 for Block 30 aircraft onward provided improved ground-attack capability through synthetic aperture radar mapping and radio emitter direction finding, electronic attack and Small Diameter Bomb (SDB) integration; testing began in 2009 and the first upgraded aircraft was delivered in 2011. To address oxygen deprivation issues, F-22s were fitted with an automatic backup oxygen system (ABOS) and modified life support system starting in 2012.
Increment 3.2 for Block 35 aircraft is a two-part upgrade process; 3.2A focuses on electronic warfare, communications and identification, while 3.2B includes geolocation improvements and a new stores management system to show the correct symbols for the AIM-9X and AIM-120D.[83][84] To enable two-way communication with other platforms, the F-22 can use the Battlefield Airborne Communications Node (BACN) as a gateway. The planned Multifunction Advanced Data Link (MADL) integration was cut due to development delays and lack of proliferation among USAF platforms. The F-22 fleet is planned to start receiving Increment 3.2B as well as a software upgrade for cryptography capabilities and avionics stability in May 2019. A Multifunctional Information Distribution System-Joint (MIDS-J) radio that replaces the current Link-16 receive-only box is expected to be operational by 2020. Subsequent upgrades are also focusing on having an open architecture to enable faster future enhancements.
In 2024, funding is projected to begin for the F-22 mid-life upgrade (MLU), which is expected to include new sensors and antennas, hardware refresh, cockpit improvements, and a helmet mounted display and cuing system. Other enhancements being developed include IRST functionality for the AN/AAR-56 Missile Launch Detector (MLD) and more durable stealth coating based on the F-35's.
The F-22 was designed for a service life of 8,000 flight hours, with a $350 million "structures retrofit program". Investigations are being made for upgrades to extend their useful lives further. In the long term, the F-22 is expected to be superseded by a sixth-generation jet fighter to be fielded in the 2030s.
Design
Overview
The F-22 Raptor is a fifth-generation fighter that is considered fourth generation in stealth aircraft technology by the USAF.[91] It is the first operational aircraft to combine supercruise, supermaneuverability, stealth, and sensor fusion in a single weapons platform. The F-22 has four empennage surfaces, retractable tricycle landing gear, and clipped delta wings with reverse trailing edge sweep and leading edge extensions running to the upper outboard corner of the inlets. Flight control surfaces include leading-edge flaps, flaperons, ailerons, rudders on the canted vertical stabilizers, and all-moving horizontal tails (stabilators); for speed brake function, the ailerons deflect up, flaperons down, and rudders outwards to increase drag.
The aircraft's dual Pratt & Whitney F119-PW-100 augmented turbofan engines are closely spaced and incorporate pitch-axis thrust vectoring nozzles with a range of ±20 degrees; each engine has maximum thrust in the 35,000 lbf (156 kN) class. The F-22's thrust-to-weight ratio at typical combat weight is nearly at unity in maximum military power and 1.25 in full afterburner. Maximum speed without external stores is approximately Mach 1.8 at military power and greater than Mach 2 with afterburners.
The F-22's high cruise speed and operating altitude over prior fighters improve the effectiveness of its sensors and weapon systems, and increase survivability against ground defenses such as surface-to-air missiles. The aircraft is among only a few that can supercruise, or sustain supersonic flight without using fuel-inefficient afterburners; it can intercept targets which subsonic aircraft would lack the speed to pursue and an afterburner-dependent aircraft would lack the fuel to reach. The F-22's thrust and aerodynamics enable regular combat speeds of Mach 1.5 at 50,000 feet (15,000 m). The use of internal weapons bays permits the aircraft to maintain comparatively higher performance over most other combat-configured fighters due to a lack of aerodynamic drag from external stores. The aircraft's structure contains a significant amount of high-strength materials to withstand stress and heat of sustained supersonic flight. Respectively, titanium alloys and composites comprise 39% and 24% of the structural weight.
The F-22's aerodynamics, relaxed stability, and powerful thrust-vectoring engines give it excellent maneuverability and energy potential across its flight envelope. The airplane has excellent high alpha (angle of attack) characteristics, capable of flying at trimmed alpha of over 60° while maintaining roll control and performing maneuvers such as the Herbst maneuver (J-turn) and Pugachev's Cobra. The flight control system and full-authority digital engine control (FADEC) make the aircraft highly departure resistant and controllable, thus giving the pilot carefree handling.
Stealth
The F-22 was designed to be highly difficult to detect and track by radar. Measures to reduce radar cross-section (RCS) include airframe shaping such as alignment of edges, fixed-geometry serpentine inlets and curved vanes that prevent line-of-sight of the engine faces and turbines from any exterior view, use of radar-absorbent material (RAM), and attention to detail such as hinges and pilot helmets that could provide a radar return. The F-22 was also designed to have decreased radio emissions, infrared signature and acoustic signature as well as reduced visibility to the naked eye. The aircraft's flat thrust-vectoring nozzles reduce infrared emissions of the exhaust plume to mitigate the threat of infrared homing ("heat seeking") surface-to-air or air-to-air missiles. Additional measures to reduce the infrared signature include special topcoat and active cooling of leading edges to manage the heat buildup from supersonic flight.
Compared to previous stealth designs like the F-117, the F-22 is less reliant on RAM, which are maintenance-intensive and susceptible to adverse weather conditions. Unlike the B-2, which requires climate-controlled hangars, the F-22 can undergo repairs on the flight line or in a normal hangar. The F-22 has a Signature Assessment System which delivers warnings when the radar signature is degraded and necessitates repair. While the F-22's exact RCS is classified, in 2009 Lockheed Martin released information indicating that from certain angles the aircraft has an RCS of 0.0001 m² or −40 dBsm – equivalent to the radar reflection of a "steel marble". Effectively maintaining the stealth features can decrease the F-22's mission capable rate to 62–70%.
The effectiveness of the stealth characteristics is difficult to gauge. The RCS value is a restrictive measurement of the aircraft's frontal or side area from the perspective of a static radar. When an aircraft maneuvers it exposes a completely different set of angles and surface area, potentially increasing radar observability. Furthermore, the F-22's stealth contouring and radar absorbent materials are chiefly effective against high-frequency radars, usually found on other aircraft. The effects of Rayleigh scattering and resonance mean that low-frequency radars such as weather radars and early-warning radars are more likely to detect the F-22 due to its physical size. However, such radars are also conspicuous, susceptible to clutter, and have low precision. Additionally, while faint or fleeting radar contacts make defenders aware that a stealth aircraft is present, reliably vectoring interception to attack the aircraft is much more challenging. According to the USAF an F-22 surprised an Iranian F-4 Phantom II that was attempting to intercept an American UAV, despite Iran's assertion of having military VHF radar coverage over the Persian Gulf.
Sydney Padua's cartoon effort here seems to be the world's only coherent effort to graphically visualize a full-scale Analytical Engine.
Illustration of a web analytics framework - data gathering, data reporting, data analysis - then the bonus stage of optimisation.
Inspired by a blog post by Avinash Kaushik (Occam's Razor)
www.kaushik.net/avinash/web-analytics-consulting-framewor...
Have you checked out Google Analytics? I have been using it for about two months on my blog, and it is very interesting to track...
Sure, it's not about quantity, but I do like the graphs :)
The Map Overlay may be my favorite of all! how many people visited the site from Sri Lanka? you can find it out with Google Analytics!
Have you checked out Google Analytics? I have been using it for about two months on my blog, and it is very interesting to track...
Sure, it's not about quantity, but I do like the graphs :)
The Jack Welch College of Business and the Office of Alumni Engagement presented “Careers in Analytics” on April 10, 2019, at the Martire Forum. The alumni panel featured Justin Baigert ’05, vice president, Data & Analytics at GE, Joseph Lucibello ’11, senior manager, data scientist at WWE and Suzanne May ’13, research manager at Purchased. The moderator was Khawaja Mamun, associate professor of economics. Photo by Mark F. Conrad
Mai Farid and John Spray present the Analytical Corner titled “Climate Change and Chronic Food Insecurity in Sub-Saharan Africa” during the 2022 Annual Meetings at the International Monetary Fund.
IMF Photo/Ariana Lindquist
10 October 2022
Washington, DC, United States
Photo ref: _V0A4661.CR3
Jehann Jack and Tarak Jardak present during the Analytical Corner titled “Addressing the Looming Problem of Bad Loans in Sub-Saharan Africa” for the 2021 Annual Meetings at the International Monetary Fund.
IMF Photo/Cory Hancock
29 September 2021
Washington, DC, United States
Photo ref: CH210929044.arw
Jehann Jack and Tarak Jardak present during the Analytical Corner titled “Addressing the Looming Problem of Bad Loans in Sub-Saharan Africa” for the 2021 Annual Meetings at the International Monetary Fund.
IMF Photo/Cory Hancock
29 September 2021
Washington, DC, United States
Photo ref: CH210929039.arw