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The first posted image of 2019. January 1.
After a string of very ornate work I thought it would be a refreshing thing to start the new year off with a straight out of the camera, pano-sabotage shot. There was no processing used other than standard tweaks to clarify and sharpen the image, take out excess white glare and bump up the saturation a bit.
The brightly coloured planes to the right of the image are not the result of filters or effects, post capture. The older buildings to the left are contrasted by another that is covered with long strips of highly irridescent metal that shift colour as you move around the structure. Hence the striking colour facets in the image to the right.
Pano-Sabotage, or more simply, "Pano", is a unique photographic practice that undermines, or sabotages the iPhone's camera Pano function. By deliberately moving the camera in a wide variety of motions OFF the guiding line that is meant to ensure a seamless panoramic image, the camera is "constantly trying to find North", as Tim Noonan once put it, and so is desperately trying to record what it sees as "up". The many "ups", tumbling against each other, is what results.
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In the late 19th century there was a lot of philosophical, spiritual and mathematic talk about the 4th dimension. This ferment of ideas, super potent and conceptually rich, made their way to one Pablo Picasso. The mathematical theories of Henri Poincaré, the poetic writings of Guillaume Appolinaire, two widely divergent thinkers, both influenced Picasso. He struggled with the ideas artistically, shutting himself away in the Bateau Lavoir until he gave birth to the painting that altered the course of Art, "Les Demoiselles D'Avignon". In it he finally realized how, on a 2 dimensional plane, to visually convey what a fourth dimensional image would show ... all angles of an object as seen simultaneously. The Analytical Cubist vision, then, asks the VERY potent question ... does anything, ultimately, have a defining, absolute shape ?
Albert Einstein, at the same time, also influenced by Poincaré, was asking strikingly similar questions about assumed absolutes, leading him, of course, to his theories of relativity.
Pano-Sabotage ( Pano ) seems to echo this view and offers, perhaps, through a new technology, another way to render, or at least strongly point to, the 4th dimension.
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© Richard S Warner ( Visionheart ) - 2018. All Rights Reserved. This image is not for use in any form without explicit, express, written permission.
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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.
I’m still travelling on the journey of trying to express the feeling of woods and trees in an image. At the moment these wobbly camera shots are proving the most interesting and satisfying. But why?
I think, for me, the challenge is the emotional side. It can be easy to create emotion in a viewer (post an image of a kitten, a rose, or a warming log fire for example), but communicating my own emotion is a lot more complex, at least for me. That’s partly because I feel emotion rather than observe it. I need to understand what it is before I can convey it. Or do I?
It all gets a bit complex for the analytical left-brain which tends to control who I am :) Perhaps I shouldn’t try to understand and so control it. Instead, I should go with the flow of what seems to work, even though it seems all too accidental and scarily intuitive…
Hmmm I find myself deep in an introspective, self-analytical hole! I’d better crawl out for your sake as well mine… :)
This ICM was taken towards the end of November on a walk in the local woods. I’m heading across a very boggy field to that stile. The lighting was dull which is good for ICMs as it reduces contrast and light.
Contrast and saturation can be fixed after the event in the processing to get back to what it felt like. Our minds effectively take what our eyes see and apply auto exposure, auto white balance and detail recognition all the time - it’s fascinating. That's partly why I find the concept of photorealism dubious at best…
I must have taken over 20 shots of this view, altering only the speed of movement and the shutter-release timing. Everything else was kept the same - direction, zoom and camera settings. ICMs have so many possibilities that they can just get confusing to take - and eventually you have to get back home for your tea :)
This was perhaps the best attempt. I like it because the slow movement has kept some of the texture and form and hence some of the narrative of the image. I tried to bring that out in the processing.
Thank you for taking the time to look. I hope you enjoy the image. Happy wobbles with your camera!
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.
Follow me on:
© 2015 Jordi Corbilla - All Rights Reserved.
Do not use any of my images
without permission.
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!
Always try to get that eye contact with your subjects. Just wait for the correct moment and then snap. This happened in Oia while the donkeys were climbing the steps of the city.
Thank you all for your appreciation.
Follow me on:
© 2016 Jordi Corbilla - All Rights Reserved.
Do not use any of my images without permission.
*Note that groups and albums are machine handled by Flickr Photo Analytics app and we apologise for any inconveniences caused.
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
Sam Harris has always been a man of precise words and razor-sharp thoughts, his voice carrying the clipped cadence of someone who has spent a lifetime considering each syllable before speaking it aloud. When I photographed him in March of 2016 at Dove Mountain, Arizona, I was struck by his stillness. He has the presence of someone who is not merely thinking, but thinking about thinking, plumbing the depths of consciousness with the same intensity a mountaineer might study a precipice before making the ascent.
Born in 1967, Harris is best known as a neuroscientist, philosopher, and writer who has spent decades interrogating the human condition. He first gained widespread attention with his book The End of Faith (2004), a fierce and unflinching examination of religious belief that won the PEN/Martha Albrand Award for First Nonfiction. In it, Harris argued against the dangers of dogma with the kind of cool, analytical detachment usually reserved for lab reports, making the case that faith—unchecked and unquestioned—was one of civilization’s great existential threats. The book, written in the wake of September 11th, made him both a hero and a heretic, a role he seemed to accept with the quiet assurance of a man who expected no less.
His intellectual journey has been one of relentless inquiry, unafraid to step into the fray of controversy. Whether tackling free will, artificial intelligence, or the moral implications of neuroscience, Harris approaches each subject with the rigor of a scientist and the tenacity of a trial attorney. His book Free Will (2012) presents a case against the very idea of human volition, arguing that our actions and thoughts are dictated by prior causes beyond our control—a notion as unsettling as it is liberating. He moves easily between philosophy and empirical science, grounding his arguments in the latest research on the brain while never losing sight of their broader implications.
Yet, for all his cerebral intensity, Harris is not without a deep fascination with the subjective, with the inner world of experience. His book Waking Up (2014) is a testament to this—an attempt to reconcile the apparent contradiction between rigorous rationality and the profound states of consciousness explored in meditation. Having spent time in silent retreats, studying under Buddhist teachers, and experimenting with psychedelics, Harris has sought to strip spirituality of its supernatural trappings and ground it in something more defensible: the raw, unfiltered reality of direct experience.
This tension—between the rational and the experiential, the cold precision of science and the warmth of personal insight—is what makes Harris such a compelling figure. His Making Sense podcast, launched in 2013, serves as an intellectual salon of sorts, a place where he engages with scientists, philosophers, writers, and thinkers across disciplines, from artificial intelligence experts to moral philosophers. He is never afraid to challenge his guests, nor does he shy away from re-examining his own positions. In conversation, as in his writing, Harris wields clarity like a scalpel—his arguments honed to their sharpest edge, his questions cutting straight to the heart of a matter.
The man I met at Dove Mountain was much as I expected: deliberate, measured, and strikingly present. He had a way of looking at you that made it clear he was not just waiting for his turn to speak but genuinely absorbing what you said, weighing it against the vast architecture of ideas he carried within him. There was an intensity in his silence, the sense that his mind was constantly at work, peeling back layers of assumption to examine the bare scaffolding underneath.
Harris is, above all, a seeker—a man who has spent his life charting the contours of belief, knowledge, and consciousness with the precision of a cartographer mapping an undiscovered world. He does not offer easy answers, nor does he indulge in comforting illusions. Instead, he asks us to look unflinchingly at the reality before us, to question, to examine, to think. And in doing so, he invites us into the great, unfinished conversation that is the pursuit of truth.
In this article im gonna share with you a deep understanding of the Instagram analytics.
Instagram is the most popular social networking platform these days.
If you want to market your products and services then it’s the best ever platform for you.
All you need to make a free account and start promoting your products and services.
www.coremafia.com/instagram-analytics-to-grow-engagement-...
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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