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Welcome with a flower necklace!
Transfer from the airport to the hotel that did not happen. Either we didn't see each other or he arrived very late at the airport. I was at the hotel when I received the flower necklace.
When I found out that there is no wifi in the hotel or almost nonexistent on the island, I remembered something, the most remote place on the planet.
3G or 4G signal?
Do not even think.
TV?
Only three channels with bad images and ditto programming.
The flying train
La malograda línea del ferrocarril Baeza-Utiel dejó cientos de grandes estructuras inútiles a lo largo de sus 366 km. de longitud. Estas obras tuvieron en general un alto grado de conclusión en los tramos entre Jaén y Albacete. Sin embargo a partir de esta última ciudad, comienza un rosario de explanaciones discontinuas, túneles ciegos, viaductos a medio terminar y pasos superiores en mitad de la nada para caminos inexistentes. Muchas canalizaciones de aguas, pontones o pasos inferiores quedaron también al desnudo sin el terraplén que debía cubrirlos.
La poética del fracaso es especialmente dramática en estos elementos inconclusos. Entre ellos, este viaducto ferroviario inacabado sobre el Río Cabriel, que delimita las provincias de Albacete y Valencia, junto a la aldea de Los Cárceles.
Más fotografías de esta línea ferroviaria en www.flickr.com/groups/baeza-utiel/
The failed Baeza-Utiel railroad line left hundreds of useless mega-structures along its 366 km of length. These works generally had a high degree of conclusion in the sections between Jaén and Albacete. However, from this last city began a rosary of discontinuous levelings, blind tunnels, half-finished viaducts and upper passes in the middle of nowhere for nonexistent paths. Lots of water drains, pontoons or lower steps were also left exposed without the embankment which should cover them.
The poetics of failure is especially dramatic in these unfinished elements. Among them, this unfinished railway viaduct over the Cabriel River, which delimits the provinces of Albacete and Valencia, next to the small village of Los Cárceles.
More photographs of this railway line at www.flickr.com/groups/baeza-utiel/
La portada sur de la iglesia de San Martín de Rejas de San Esteban (Soria); está compuesta de tres arquivoltas de medio punto, la decoración es mediante ajedrezados, bolas, cadenetas y hojas tetrapétalas inscritas en círculos.
Los capiteles apoyados en columnas laterales son leones afrontados y Sansón desquijarando al león, ambos son toscos y presentan signos de deterioro.
Encima de los arcos se ven ocho modillones que servían de soporte a la inexistente cornisa.
Este Monumento Nacional de estilo románico fue construido en el siglo XI, consta de una sola nave, un ábside y una galería porticada con siete arcos.
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The south portal of the church of San Martín de Rejas of San Esteban (Soria); it is composed of three half-point archivolts, the decoration is by checkers, balls, chains and tetrapétalas leaves inscribed in circles.
The capitals supported by lateral columns are facing lions and Samson dislodging the lion, both are coarse and show signs of deterioration.
Above the arches are eight modillions that served as support for the nonexistent cornice.
This Romanesque-style National Monument was built in the eleventh century, consisting of a single nave, an apse and an arcaded gallery with seven arches.
Unfortunately I have been unable to get out lately with my camera to take new pictures. So, I decided to spend some time, during the heat of the Texas summer, and re-edit some of the pictures from my Alaskan cruise vacation last summer. At the time, my knowledge of photography and editing was nonexistent. Many of the pictures taken from the ship were quite hazy and I didn't have a clue about how to deal with that at the time or in post. While my editing skills still aren't all that great, I have learned enough to better bring out the beauty in the pictures (hopefully).
A cruise ship sails past the majestic mountains of Alaska as it makes it's way towards Juneau.
Hood doors flappin' on a hot Kansas evening lookin' for a nonexistent breeze, a Frisco U30B has just crossed the Rock Island and will soon complete its journey to the Air Capital, Wichita. This is the train from Neodesha making its near sundown arrival. Today's consist one U30B and two GP15-1's.
I apologize for the derail sign.
“Sticking the electronic brain of an automatic paper towel dispenser in the body of a Deathtron Warbot? What could go wrong? It’s like getting a free robot."
(Rendered for the new episode of TEJFAF, This Is Going To Be So Much Fun: tejfaf.wordpress.com/2018/01/14/this-is-going-to-be-so-mu...).
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Gotta be honest, I'm not proud of this. I threw it together incredibly quickly (with the exception of the seventeen-armed pink guy, who was a royal pain, even with nonexistent pink snakes to work with), and it's rife with mistakes and general sloppiness. I will readily admit there are a couple continuity errors here with the episode this is inspired by, but honestly I really did just cobble this together.
This is one of of my many recent (if unrendered) builds that I essentially made to showcase some minifigs, without much thought to quality. I did actually crack down and build an interior I'm proud of, though, so expect that after a couple more minifig-fests.
When I got out of Left Bank at Santana Row, I spotted this lady taking her time to compose herself for a selfie, totally ignoring her companion at the table. I felt compelled to take this shot. Good thing I had my rangefinder already hanging on my neck. Took me a few seconds to align the two rangefinder patches to nail the focus. Despite having a F1.2 lens, I decided to use F4 for more depth of field so that the gentleman behind would also be in focus as well. I actually had a Voigtlander Nokton mounted on the Leica. It had just come back from DAG Camera for calibration. Previously I was experiencing back focus issues on the Leica using this lens. This was not apparent on film. With a digital body, I have observed the back focus issue at wide open more consistently. As the lens was out of warranty, I contacted Cosina Japan abour calibration service but there was no reply from them. Voigtlander 's authorized US distributor, Cameraquest, also had announced on its website that it would not handle any repair nor warranty service. I contacted Don Goldberg at DAG Camera and he would do it for a reasonable fee. So if you are in the market for any Voigtlander glass, watch out its nonexistent aftersales support especially in the US.
Lens: Voigtlander Nokton 35mm F1.2 Asph III
One bridge; three Prontos.
For some reason whenever I see Lincoln's the Pronto liveried MMCs it always tends to be when they're heading north over Pelham Bridge, which is a bit unfortunate as the background is pretty nonexistent here. On this particular afternoon, I saw all three at this typical location!
This was 11275, at Lincoln with a B3, in its last few days before returning to Mansfield in exchange for the coronation liveried bus, which itself is an ex-Pronto. That's only meant to be a loan though, so maybe Lincoln is set to lose one decker overall.
I remember reading somewhere that the the reason Lincoln got the Pronto MMCs in the first place was because we had an extra requirement for tachograph fitted deckers, which at a guess would be the Moy Park and/or Bakkavor runs. No idea which native buses are tacho, the Scania N230s, maybe? But seeing as anything gets allocated anywhere, what difference does it even make?
28.4.23
(since writing this I've seen 11275 still in Lincoln, sooooo?)
The old town of Sighisoara.
Some places just look good in black and white. They just seem archaic and strange enough for that. The old town of Sighisoara is definitely one of them - especially where antique lanterns hang off the walls.
In this case the shot is taken right behind the famous house of Dracula (which functions predoninantly as a restaurant). The alley is very scenic in color too, but I prefer this look. As if the time long gone comes back to life and just for a moment one is transported two hundred years back - when the streets of the city were echoing with the sound of horse hooves and these lanterns were the only light source.
The story behind the shot:
In each post about Sighisoara I emphasize that this place is crowded with tourists around noon and almost empty the rest of the day. This shot is takenl around three in the afternoon and as you can see - there are almost no people around. I don't know what photoadvice to give you to do something like this - the technical subtleties of of the the shot are generally nonexistent (at least to me, it seems a pretty easy shot to take), there's nothing special. It's just important to see something that matters and means something to you.
Goode Glacier looked messy and virtually nonexistent in the late season. Photos from Logan weren't at the optimal angle to know that the buttress route wouldn't have worked out after all.
Le M.U.R Mulhouse
¨ Movimiento Sosegado ¨ / ¨ Calmer le Mouvement ¨
Mulhouse / Francia .
Me inspire en el devenir que me sugiere este sistema, en la vorágine del día día, donde pretendemos controlar y saber todo lo que va a suceder.
Donde solamente transitamos por el camino de nuestros intereses y nos relacionamos por los mismos, en esta ¨ Gran Prix ¨ del éxito, donde se fomenta el ¨ Non Stop ¨ . Donde la calma o tomarse un tiempo para reflexionar sobre lo hecho, casi no existe, paso a ser normal que la lentitud, ser pausado, bien razonado, se asocie a valores negativos.
Esta claro que las decisiones importantes no deben tomarse a la azar ó impulsivamente.
Pero mantener una actitud contemplativa nos integra en el medio y pueda ser el refugio de brillantes ideas que nos ayuden a nuestro proceder.
// ingles
I inspire in the future that suggests this system, in the maelstrom of the day day, where we aim to control and know everything that is going to happen to me.
Where we only walked the path of our interests and we relate by them, in this ¨ Grand Prix ¨ of success, where fostering ¨ Non Stop ¨. Where the calm or take time to reflect on what has been done, is almost nonexistent, step to be normal that the slow, leisurely, well-reasoned, is associated with negative values.
Is clear that important decisions should not be taken to the random or impulsively.
But keep a contemplative attitude us integrates in the middle and it may be the refuge of brilliant ideas that help us in our proceeding.
A walk into town to pick up a neighbour’s medication gave me the opportunity to take my first 2021 shots and here we see Sanders Coasthopper branded former Wilts & Dorset Wright bodied Volvo B7RLE type number 506 - HF54 HHB as it passes through “the narrows” section of Church Street, Cromer whilst working the above service CH2 journey. The infamous “marmite regeneration” of Cromer Town Centre which took place in the early 2000s, resulted in the whole length of Church Street being narrowed to provide wider pavements, although in this original narrow section they remain virtually nonexistent, especially beside The Albion PH to the right. Hard to believe this was once a two way thoroughfare.
The twelve former W&D vehicles that entered service with Sanders during April & May 2018 were allocated fleet numbers 502-14. They all retained their former blue livery with 502-12 being branded for Coasthopper. At least half have now received Sanders standard single deck livery of allover yellow.
In the background we can see the tower of St Peter & St Paul’s church, at 160ft the tallest in Norfolk. The church has undoubtedly witnessed many events in the 600 plus years it has dominated the town, but surely nothing quite like the year 2020.
A convex mirror along a trail/road in Hontoon Island State Park in the Saint Johns River outside Deland, Florida. Hontoon Island is a low swampy island made up primarily of swamps and stands of pine, palms, and oak. The mirror must be there so you can see the almost nonexistent traffic coming along the road. The traffic is nonexistent because there are no road connections to the island. You can only get there by private boat or by the pedestrian ferry.
In the background is the Kimberly Avenue bridge which goes over the West River separating West Haven and New Haven.
For what its worth, here's the latest New Haven Register story about this neighborhood and its future....
www.nhregister.com/news/article/The-Haven-upscale-outlet-...
Rue Mignard | AVI_16 23/06/2015 12h47
Avignon is an invaded city. Two years ago in the Summer of 2013 I found 22 of all 41 space invaders. The interactive game application FlashInvaders was nonexistent at that time. During the little time of my visit in Avignon this time I tried to flash the most of them, the score was 12 flashed Avignon space invaders with a total score of 180 points plus 100 bonus points 'new city'.
Sad news is that 5 space invades I encountered in 2013 are not there anymore.
Stewart is 'flashing' AVI_16 on this corner. Ten points!
AVI_16 [10 points]
Date of invasion: year 2000
Other views:
AVI_16 (Zoom in, June 2013)
AVI_16 (Street view, June 2013)
Virginia's Warbler. Click to enlarge. Virginia's Warblers occupy a small area in the United States. These warblers spend summers on dry brushy mountainsides in the West and winters in Mexico; their habitat often makes Virginia's Warbler hard to observe. This one is in an about-to-bloom mesquite tree near Tucson, Arizona in the Sonoran Desert. Males and sometimes females have a small chestnut patch on the crown that is usually hidden. Have a couple other photos showing its yellow patches but tree leaves obscured the face. The amount of yellow varies from bright on males to pale or nonexistent on females and young birds. More warblers in PhotoStream and/or Birds album.
“Simple,' Tummeler replied.' Blueberries is one of the great forces o'good in the world.'
How do you figure that?' said Charles.
Well,' said Tummeler, 'have you ever seen a troll, or a Wendigo, or,' he shuddered, 'a Shadow-Born ever eating a blueberry pie?'
No,' Charles admitted.
There y'go,' said Tummeler. It's cause they can't stand the goodness in it.'
Can't argue with you there,' said Charles.
Foods is good and evil, just like people, or badgers, or even scowlers.'
Evil food?' said Charles.
Parsnips,' said Tummeler, 'Them's as evil as they come.”
― James A. Owen, Here, There Be Dragons
Sorry about the apparent lack of relevance of this quote - I just liked it!!! Here's another :
“I think that nonexistent mythological creature just broke some of your toes," Jack said.
Oh, shut up," said Charles”
― James A. Owen, Here, There Be Dragons
Yeah, you saw 820’s new paint, didn’t you? Shit’s atrocious. Fuckin’ Ferromex palette swap lookin headass. Going from Champion paint to *that* is the biggest fucking downgrade none of us deserved. If that really will be the new look for all of FEC’s C4’s, I gotta get to work shooting the mainline freights soon…
FEC 206-07 battles the near-nonexistent upgrade through the MP 357.3 intermediate signals at North Miami on an uncomfortably warm October 7th, 2023. As with most Saturday 206’s, all that was being hauled was limestone and cement loads, 113 cars total. #FEC807 [ES44C4], along with two matching “Champion” GEVOs and an endangered 2K Blue GP40-2, act as power for the northbound rock runner, albeit with only the first two units online. A cluster of non-native Australian Pine off on the wayside made for some ample shade while waiting, and set off a lightbulb in my head… The result? Something worth being proud of.
•
North Miami, FL
FEC Mainline
Date: 10/07/2023 | 12:26
ID: FEC 206-07
Type: Unit Rock
Direction: Northbound
Car Count: 113
1. FEC ES44C4 #807
2. FEC ES44C4 #822
3. FEC ES44C4 #803
4. FEC GP40-2 #415
•
© Vicente Alonso 2023
I was really lucky getting something out of this shot. I was looking for a nonexistent Kingfisher when this GBH came flying in on my blind side. Quick focus, shoot, and hope for the best.
FOR IMMEDIATE RELEASE
MANIFESTO GLEITZEIT 2015
BY STELLY RIESLING
Featured below is another original art work of mine in homage to THE PIONEER OF INVISIBLE ART — PAUL JAISINI. Forget all the copycats that came after him — Master Paul Jaisini was the *FIRST* of a totally original concept and the *BEST*. My favorite thing about him is that he’s a voice, not an echo, which is quite rare.
DISCLAIMER: This is for anyone who is a hater OR wishes to better understand me, what I’m all about, so you can decide whether I’m weird or normal enough for you — a kind of very loose manifesto, rushed and unrevised, full of raw uncut emotion that I don’t like to be evident in my writing as lately I prefer a more professional, formal style, so we can consider this a rough draft of the more polished writing to come when I have extra time. I might return to this text later and clean it up or break it into separate parts. Right now it’s a long-winded hot mess, so if you manage to make any sense of it, BIG PROPS TO YOU. lol …and if you manage to read it ALL, you have my solemn respect!!! in a day when reading has been reduced to just catchy headliners and short captions of images once in a while. The consequence of this one-liner internet culture is non-linear, tunnel thinking, which is baaaaaad.
There lives among us a most enigmatic and charismatic creature named Paul Jaisini who led me into the wonderful world of art, not personally, but through descriptions of his artworks in essays written and published online by his friend, which painted the most fascinating images in my mind. Early on as a kiddo, I experimented with photography, simple point and shoot whatever looked attractive to me. Digital manipulation of my photographs with computer software followed… and somehow I learned useful drawing techniques along the way to combine existing elements with nonexistent ones, which allowed me to elevate the context for my ideas. Later, I started creating my own digital art from scratch for my friends and family as a favorite pastime. They would shower me with praise and repeatedly encouraged me to share my “different” vision with the rest of the world… it took a while and wasn’t easy to overcome the insecurity of not being good enough along with a gripping fear of being harshly criticized, but one day I woman-ed up and started publishing my work on the web, reminding myself that my livelihood didn’t depend on a positive reception.
Paul Jaisini’s role in all this has been to not disgrace myself, even if what I do is just a hobby. And I would never do him and other genius artists the disservice of calling myself a professional because I know I’ll never be as good as any of the GIANTS of pre-modern history. Be the best or be nothing, no middle ground.
People’s jealousy in the past, future and present over my obsessive love of Paul Jaisini, which they are well aware is purely plutonic, has caused them to despise the man and has made many relationships/friendships impossible for me. I refuse to have such people in my life because by harboring any negativity towards Paul, they unknowingly feel that way about me and express it to me. It’s their own problem for not realizing this. Paul’s new art movement, Gleitzeit, shaped me into the allegedly awesome girl I am today, giving my art more edge, more “sexy” because it refined my vision of the world and propelled me to attain the skills necessary to not dishonor my family name through tenacious pursuit of perfection. Since the beginning of my life, I attempted to depict what I saw in visual, musical and literal forms, but continuously failed without adequate training and determination. Paul Jaisini’s Gleitzeit was the answer to my prayers. Who I am today I owe mostly to him and his selfless ideals of the artverse that I’ve given unconditional loyalty to (he has this cool ability for hyper-vision to see whole universes, not itty bitty worlds, hence I call it an artverse instead of art world, with him in mind). So again, anyone who hates Paul Jaisini hates ME because, regardless of what he means to you, he is the most important person in my life for making me ME. The way a famous actor, dancer or singer inspires others to act, dance or sing, Paul inspired me to become a better artist, better writer, better everything. More people would understand if he was a household name because they’re wired to in society. But we’re inspiring each other all the time in our own little communities without being famous, so if someone has the ability to change even ONE person’s life immensely with creativity, it is a massive achievement. And passionate folks like myself are compelled to scream it from the cyber rooftops. So here I am. It’s whatever.
Furthermore, I’d like to address here a few pressing matters in light of some recent drama brought on by both strangers and former friends. To start, I never judge the passions, interests or likes of others, which are often in my face all over the place, so likewise they have no right to judge any of mine. It is quite unfortunate and frustrating how very little understanding and education the majority of people have or want to have. Their logic is as primitive as a chipmunk when it comes to promotion of fine art on the web: “spamming, advertising, report!” It’s their own problem that they fail to understand what it’s about due to the distorted lens through which they see the world or inability to think for themselves; an inherent lack of perception or inquisitiveness. Well, guess what? Every single image, every animation, every video, every post dedicated to Mr. Paul Jaisini and “Gleitziet” (to elaborate: a revolutionary new art movement Paul founded with his partner in crime and personal friend, EYKG, who discovered him and believed in him more than anyone) has an important purpose. Every one of those things you run across is a piece of a puzzle, a move in a game, an inch down a rabbit hole; the deeper you go, the more interesting it gets; the more levels you pass, the more clues unfold, the greater the suspense and nearer the conclusion (yet further). You earn awesome rewards like enlightenment, spiritual revelations, truths, knowledge, wisdom and the most profound reward of all: the drive to improve yourself to the absolute maximum, so an unending, unshakable drive. People often make a wrong turn in this cyber game and go back a few levels or get stuck. Those that keep on pushing, however, will come to find the effort has been worth it. And what awaits you in the end of it all? The greatest challenge to beating the game: YOUR OWN MIND. You will be forced to let go of every belief you held before you had reached the last level, to completely alter your mindset and perception of the world, of life, of yourself. But by the time you’ve gotten to that point, it will be as easy as falling off a cliff! (It is a kind of suicide after all — death and rebirth of spirit.)
Paul Jaisini does NOT, *I repeat* does NOT use mystery and obscurity to his advantage as a clever marketing ploy, no, he’s too next level for that with a consciousness so rich, he should wear a radioactive warning sign (he’ll melt your brain, best wear a tinfoil hat in his presence as I certainly would.) The statement he makes is loud and clear, hidden in plain site for those who take the time to connect the dots and have enough curiosity to fuel their journey into unknown territory (an open mind and flexible perception helps a lot). Actually, anyone with an IQ above 90 is sure to figure it out sooner or later. Hint: You don’t have to SEE an extraordinary thing with your eyes to know it exists, to understand it and realize its greatness — you can only feel it in your bone marrow, your spinal fluid, your heart and soul. The moment you do figure it out, as the skeleton key of the human soul, it will unlock the greatness and massive potential buried deep within, changing the doomed direction humanity is undoubtedly headed. I don’t speak in riddles, I speak in a clear direct way that intelligent humans will understand, so I’m counting on them.
GIG is an international group of artists and writers that support Paul Jaisini’s Gleitzeit. We started off as an unofficial fan club of Jaisini in 1996, comprised of only 6 individuals spanning 3 countries, and eventually escalated in status to an official fan group across the entire globe. A decade later it had grown to hundreds of fans. Nearly another decade later, there are thousands. Let’s not leave out another delightful group of vicious haters that have been around for nearly as long as us since the late 90s and have also grown in impressive numbers. Now, for the record (and please write this one down because I’m sick of repeating myself), Paul Jaisini himself is not part of our group and has nothing to do with us. He loves and hates us equally for butchering his name and making him appear as a narcissistic nut-job in his own words. He casts hexes on us for the blinding flash we layer over the art that members contribute to GIG — “disgusting-police-lights, seizure-inducing-laser-lightshow, bourgeois-myspace-effects retarded-raver shit” in Paul’s words. Ahh, how we love his sweet-talking us. In a desperate attempt to please him, those among us who make the art and animations have spent countless hours and sleepless nights trying to solve a crazy-complex quantum-physics type of equation = how to not create tacky or tasteless content. He does fancy some of it now, we got better, that’s something! In the reason stated below, our mission just got out of hand at some point.
What little is known about Paul Jaisini, even in all this time, is he’s a horrible perfectionist who slaughtered hundreds of innocent babies — I mean — artworks of remarkable beauty created by his own right hand (mostly paintings, some watercolors and drawings). He’s a fierce recluse who wants nothing to do with anyone or anything in life. But those few of us who know of an incredible talent he possesses (one could go as far as calling it a superpower), could not allow him to live his life without the recognition he FUCKING DESERVES more than any artist out there living today and, arguably, yesterday. We use whatever means necessary to reach more people, lots of flash and razzle-dazzle to lure them into our sinister trap of a higher awareness. Mwahaha! The visual boom you’ve witnessed in both cyber and real worlds, that is GIG’s doing — two damn decades of spreading an art virus — IVA. InVisibleArtitis… or a drug as in Intravenous Art. It’s whatever you want it to be, honey.
Our Gleitzeit International Group (GIG) started off innocently enough and gradually spiraled out of control to fight the haters, annoying the hell out of them as much as humanly possible. They don’t like what we do? WE DO MORE AND MORE OF IT. But never without purpose, without a carefully executed plan in mind collectively. If we have to tolerate an endless tidal wave of everyone’s vomit — e.g., idiotic memes and comics; dumbed-down one-liner quotes; selfies; so-called “art photography” passed through one-click app filters; mindless scribbles or random splatters by regular folks who have the nerve to call themselves serious/pro artists; primitive images of pets, babies, landscapes, random objects, etc… then people sure as shit are gonna tolerate what we put out, our animated and non-animated visual art designed for our beloved master, Paul Jaisini, who has shown us the light, the right path to follow, taught us great things and done so much for us — and so in our appreciation of him, we stamp his name on everything, for the sacrifices he has made in the name of art, to save our art verse, he’s a goddamn hero. There’s a book being written in his dedication where little will be left to the imagination about him.
If Paul Jaisini was as famous as Koons or Hirst, for example, people would know it’s not him posting stuff online with his name on it but fans creating fanart like myself among others. But noooooo, such a thing is unfathomable to most people - the promotion of another artist. Like, what’s in it for us? Uhh, nothing?? This is all NON-PROFIT bitches, the way art should be. It’s a passion FIRST, a commodity/commercial product/marketable item LAST and least. Its been that way for us since the early 90s to this day. Not a single member of GIG has sold an art work (neither has Paul Jaisini who’s a true professional) and we want to keep it that way. We do it for reasons far beyond ego. So advertising? Really? How the hell do you advertise or sell thin air, you know, invisible paintings, invisible anything? Ha ha, very funny indeed. The idea here is so simple, your neighbor’s dog can grasp it. Our motives: replace fast food for the mind with fine art, actual fine art. You know, creativity? Conscious thought? Talent? Skill? Knowledge? All that good stuff rolled into one to bring viewers more than a momentary ooohand aaahh reaction. Replace the recycled images ad nauseum; repetitious, worn-out ideas; disposable, gimmicky, money-driven fast art for simpletons. Stick with the highest of ideals and save the whole bloody planet.
Fine art is often confused with craft-making. This often creates bad blood between classically trained artists who put out paintings that leave a lasting impression, that make strong conversation pieces, that are thought-provoking and deep… and trained craftspeople whose skills are adequate to create decorative pieces for homely environments — landscapes, still lifes, animals, pretty fairies, common things of fantasy, and other simplicity. Skills alone are not enough for high art, you need a vision, a purpose, the ability to tell a story with every stroke of your brush that will both fascinate and terrify the viewers, arousing powerful emotions, illuminating. I have yet to see a visible painting in my generation that does anything at all for me, other than evoke sheer outrage and disgust. What a terrible waste of space and valuable resources it all is.
Paul Jaisini leads, we follow. He wishes to remain unknown - so do most of us. I’m next in line, slipping into recluse mode, no longer wanting to attach my face, my human image to my art stuff. I wish to be a nameless, faceless artist as well, invisible like P.J., and in his footsteps I too have destroyed thousands of my own artistic photography and digital art made with tedious, labor-intensive handwork. The whole point of this destruction is achieving the finest results possible by letting go of the imperfect, purging it on a regular basis, to make way for the perfect. I love what I do so it doesn’t matter, I know I’ll keep producing as much as I’m discarding, keeping the balance. Hoarding is an enemy of progress, especially the digital kind as there’s absolutely no limit to it. It’s like carrying a load of bricks on your back you’ll never use or need.
The watering down of creativity that digital pack ratting has caused as observed over the years is most tragic. For the creative individual, relying on terabytes of stock photos or OSFAP as I call them (Once Size Fits All Photos) instead of making your own as you used to when you had no choice, being 100% original, is a splinter in the conscience. It’s not evil to use stock of, say, things you don’t have access to (outer space, deep sea, Antarctica, etc.), but many digital artists I know today can’t take their own shot of a pencil ‘cause they “ain’t got no time for that!” How did they have time before? Did time get so compressed in only a decade?
Ohhhhh, and the edits, textures, filters, plug-ins and what-have-you available out there to everyone and their cats… are responsible for the tidal wave of rubbish that eclipses the magnificent light of the real talents.
I can tell you with utmost sincerity there is no better feeling on earth than knowing your creation is ALL yours, every pixel and dot, from the first to the last. It’s not always possible to make it so, but definitely the most rewarding endeavor. I’m most proud of myself when I can accomplish that.
Back to Paul Jaisini, from the start there have been a number of theories floating around on what his real story is. One of my own theories is that he stands for the unknowns of the world who can’t get representation, can’t get exhibited at a decent gallery because highly gifted/trained artists aren’t good enough - those kind of establishments prefer bananas, balloon dogs, feces, gigantic dicks/cunts, and all kinds of what-the-fucks…
So again, you don’t get the Paul Jaisini thing? That’s your problem. Don’t hate others for getting it. People are good, very good, at making baseless assumptions and impulsively spewing it as truth. They criticize and judge as if they’re high authorities on the subject yet they clearly lack education in fine art or art history and possess little to no talent or skill to back up their bullshit. My little “credibility radar” never fails. When they say I know this or I know that, I reply don’t say “I know” or state things as fact as a general rule of thumb - instead say “I assume/believe” and state the reasons you feel thus to appear less immature, especially about a controversial topic like invisible art. I have zero respect or tolerance for egomaniacs who think they know it all and act accordingly like arrogant pricks. Who can stand those, right? Once again, a good example would be: I, Stelly Riesling, believe everything I’ve written in this little manifesto to be correct based on personal experience and observation from multiple angles, thorough research and sufficient data collected from verifiable sources (and don’t go copying-pasting my own words back at me, be original). Just because you or I say so doesn’t make it so. Just because you or me think or believe so doesn’t make it true or right. I only ask that my opinions are regarded respectfully and whoever opposes them does so in a mature, civilized manner. We should only be entitled to opinions that don’t bring out the worst in us.
I don’t normally take such a position, but the time has come to stand up for what I believe in! It’s quite amusing and comical how haters think calling me names, attacking me or my interests or members of the project I’m part of for years is going to change something. It only makes more evident the importance of what I’m doing so I push on harder still.
Words of advise to those who can identify with me, with my frustrations over people’s reluctance to change their miserable ways, with our declining art world…
DON’T waste time on people who sweat the small stuff, whose actions are consistently inconsistent with their words. DO waste time on people who always keep their eye on the ball—the bigger picture of life.
Paul Jaisini’s invisible paintings are more than hype, more than your lame assumptions. Here’s one I got that’s pure gold: a cult! It started out as A JOKE OF MINE that was used against me. I told a then-good friend that he should come join our little “art cult” in a clearly lighthearted manner, and later he takes this idea I put in his head first and accuses me of being in an (imaginary) cult—the jokes on me eh?. But wait, aren’t cults religious? Our group consists of people around the world of different faiths (or none at all) so how could that ever work? If religion was about making fine (non-pop) art mainstream and bringing awesome, fresh, futuristic concepts to the collective consciousness, the world would not be so fucked up today because talent, creativity, originality and individuality would be the main focus, not superficial poppycock; those things would be praised and encouraged and supported in society by all institutions, not demonized and stigmatized.
Here is one thing I CAN state as solid fact: only one person close to Paul Jaisini knows the TRUE story, or at least some of it: EYKG. Everything else that has ever been said about him is myth, legend, gossip, speculation, the worst of which is said by jealous non-artists (wannabes, clones, posers, hang-ons, unoriginal ppl in general) and anti-artists (religious psychos, squares, losers and -duh- stupid ppl). Sadly, people are unable to see the bigger picture by letting their egos run their lives or repeating after others as parrots.
Commercial art, consumerism, and ignorance of the masses truly makes me want to curl up in a ball, not eat or drink or move until I die, just die in my sleep while dreaming of a better world, a world where real fine artists rule it with real fine art as they used to and life is beautiful once again….
Well I hope that settled THAT for now, or perhaps inadvertently made matters worse. I hope I didn’t sound too pissed from all these issues that keep popping up like penises on ChatRoulette… just got to me already! Can you tell? I had to put my foot down, stomp ‘em all!
To be continued, still lots more ignorance and pettiness to battle… Till then peace out my bambini. MWAH!
FOR IMMEDIATE RELEASE
MANIFESTO GLEITZEIT 2015
PROLOGUE
Paul Jaisini was like a messiah, as you wish, who saw/understood the impending end and complete degeneration of Fine art or Art become and investment nothing more than that. He predicted the bubble pops art when everybody would eventually become an artist, including dogs cats and horses, because they as kids followed the main rule: express yourself without skills or knowledge or any aesthetic concerns. J. Pollack started pouring paints onto canvases; Julian Schnabel, former cab driver from NY, suddenly decided he could do better than what he saw displayed in galleries, so he started gluing dishes on canvases; A.Warhol, an industrial artist who made commercial silk-screen for the factories he worked in, started to exhibit "Campbell's soup" used for commercial adds... and later the thing that made him an "American Idol": by copying and pasting Hollywood celebrities (same type of posters he made before for movie theaters).
When Paul Jaisini stood out against the Me culture in the US by burning all of his own 120 brilliant paintings (according to the then-new director of Fort Worth MoMa Museum, who offered hin an exhibition of his art in 1992, and later the Metropolitan Museum curator, Phillippe de Montebello, in 1994).Paul probably assumed all fellow true fine artists would join him or stand by him against corruption of the art world.
And after 20 years of his stand-off...the time has finally come today. Many artists and humanitarians around the world took a place beside him. His invisible Paintings became a synonym for the future reincarnation of fine art and long lost harmony. The establishment is in panic! The "moneybags" (as Paul Jaisini named them) are in panic, because they invested BILLIONS of dollars in real crap made by craftsmen. Now they realize that the reputation of American legends of expressionism was nothing but a copy of Russian avant-garde" Kazimir Malevich, Vasiliy Kandinsky and tens of others from France and Germany.. US tycoon investors were spending billions on "Me more original, than you". "Artist Shit" is a 1061 artwork by the Italian artist Piero Manzoni. The work consists of 90 tin cans, filled with feces. A tin can was sold for £124,000, 180,000 at Sothebys, 2007.
EPILOGUE
Before I resume promoting and admiring a very important art persona on today's international art arena, I'd like to clear up some BIG questions; people ask continuously and subconsciously, directly & indirectly: "Why does the name Paul Jaisini, flood the Internet in such "obnoxious" quantities that it's started suppressing some other activities that my friends might share with the rest of the Internet's Ego Me only Me www society? I can't just answer this... so I'll try to explain why I'm writing this: Jaisini's followers keep posting art and info about,
He IMHO the only hope in quickly decomposing visual fine art. "Paul Jaisini realized many years ago, in 1994, when he declared (at that time to himself only) the start of a New era, a New vision, that he is trying to redirect from the rat race, started by an establishment in post-war New York, long before the Internet culture.
Sub related information: Adolf Gottlieb, Mart Rothko, etc (after visiting Paris France in 1933):
"We must forget analytical art, we must express ourselves, as a 5 year old child would, without a developed consciousness. Forget about results - do what you feel, EXPRESS yourself with your own unique style"
With this statement Mark Rothko starts to teach his students, degeneration of fine art begins, and the generation of war of styles took a start signal of the material race, greatly rewarded by establishment "individual" - eccentric craftsmen - show business clowns.
Sub related Information: In the summer of 1936, Adolf Gottlieb painted more than 800 paintings, which was 20X more than he created in his whole art career as a painter, starting from the time of Gottlieb becomes a founding member of "The Ten" group in NYC "Group of Ten" was a very peculiar, enigmatic group... Based on a religious point of view;(where a human figure was prohibited from being created)
GLOSSARY
IN 1997, Paul Jaisini's best friend Ellen Y.K.Gottlieb started a cyber campaign by promoting on a very young Internet, back then, Paul Jaisini's burned paintings as Invisible Paintings, visible only through poetic essays. She and a handful of people saw his originals and were devastated that nobody could ever see them again. "We, his fans, believe that someday Paul will recreate his 120 burned paintings if he has any decency and moral obligation to his fans, who have dedicated decades to make it happen, for their Phoenix to rise from the ashes and the whole world will witness that all these years we spent to get him back to re-paint the Visuals again were not in vain," - said E.Y.K.Gottlieb in 2014 during the 20th anniversary celebration of Invisible Paintings to GIGroup in NYCity. So now, hopefully, this clears up why I and others do what we do - our "cyber terrorism" of good art, dedicated to Paul Jaisini's return, which is & and was our mission & our goal. We post good art to fight "troll art" which is worthless pics, after being passed through 1-click filters of free web apps. We are, in fact, against this www pops pollution, done with "bubble art" by the out of control masses with 5 billon pics a day: Pics of cats, memes, quotes,national geographic sunsets and waterfalls, not counting their own daily "selfies: and whatever self-indulging Me-ego-Me affairs, sponsored happily by photo gadget companies like Canon, Nikon, Sony...who churn out higher quality madness tools at lower cost.
This way Government taking away attention from the real world crisis of lowest morality & economical devastation. The masses are too easily re-engineered/manipulated by the Establishment PopsStyle delivered to them by pop music and Hollywood "super" stars. In 1992 Paul Jaisini's Gleitzeit theory predict such a massive, pops self-entertain madness, following technological explosion, but not in illusive scales.
Uber Aless @2015 NYC USA
NOTE Date's numbers and events can be slightly inaccurate.
#gleitzeit #paul-jaisini #invisible #painting #art #futurism #art-news,
Hi hi bbs!
I hope everyone had a good holiday. Unfortunately I am sick again with my nonexistent immune system XD
Wishing you all a wonderful new year.
This set is available now at Dubai event <3
TP: maps.secondlife.com/secondlife/Horizon%20Beach/117/64/2001
Ghost spider (Wulfila sp.), in profile, within its silken retreat on the underside of a leaf. The silk retreats of these spiders are often so shear that they may appear virtually nonexistent.
Size: ~0.25 inch (6 mm)
October 02, 2024
Brownsville, Fayette County, Pennsylvania
I am alive!
This is the MOC I took down to the Christchurch Brick Show in July. Yeah, July. The internet side of my lego life has been virtually (haha, pun not intended :P) nonexistent for ages now.
Some of you might remember the Lego graphic novel I was writing and video blogging about earlier this year, until about April. It and I disappeared from the face of the internet without notice. Sorry about that. My beautiful 1-year-old niece passed away very suddenly at the beginning of May, and the project was not a priority.
Anyhow, hopefully I'll get back to it at some point. It would be really good to actually get something out of it, because it did have a plot and concepts that I really liked. Right now I'm working on my exhibit for the Auckland Brick Show 2014, a part of a pirate/castleish collaboration. It should be pretty cool :)
Thanks for checking this out! :D
Converted in Nik HDR FX Pro for a change. The black and white tools are nearly nonexistent but the processing tricks are still interesting.
TIme to catch up a little bit.... this was from back in JUNE!! Yes, my crappy, nearly nonexistent internet and my overwhelming number of projects and work schedule has kind of caused me to pretty much disappear. So let's catch up... taking you back to JUNE and the best 5 days I have spent in YEARS!!! And my bandsaw is indeed up and running again now! YEY!!
June 8, 2021: OMG! I love him!! My “found objects” owl!! .... AND Geoffrey Gorman, our amazing instructor!!! I spent 5 days as part of the art community at Peters Valley, a place that has earned my favorite adjective... “magical”... 5 days of ”finding the soul of forgotten materials” while restoring my own creative soul. This is exactly what I needed and the kind words, encouragement, and inspiration from Geoffrey and the other students, I will hold in my heart forever. My total inability to discard even the smallest piece of crap made me a natural for this class.... and being surrounded by people that appreciated all the crap without telling me that I need an intervention was also PRICELESS! Yes, these people are my tribe! I knew this class would fall into the "life-changing" category! I’m thinking it’s time to get my band saw up and running again. So many ideas... so so many...and enough "found objects" to keep me busy for a lifetime! Truly the best five days I have had in YEARS! (I’m pretty sure there’s a pneumatic nail gun in my future!)
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 totallyoriginal 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 isnot 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 artverse, 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!
Pere Marquette 1225 eases to a stop just short of the Main Street grade crossing in Bannister, MI. The crossing's warning lights have malfunctioned and a crew member with a red flag can be seen preparing to hop off the train so he can walk ahead and make sure vehicular traffic is stopped until the train rolls through the crossing. The fall colors in lower Michigan were good in some spots, nonexistent in others (leaves were either still green or had already blown away), but I knew I wanted to incorporate those two trees on the right in my photo as soon as I saw them.
Bannister, MI - October 20, 2018.
“It was the hour in which objects lose the consistency of shadow that accompanies them during the night and gradually reacquire colors, but seem to cross meanwhile an uncertain limbo, faintly touched, just breathed on by light; the hour in which one is least certain of the world's existence.”
(From " The Nonexistent Knight & The Cloven Viscount" by Italo Calvino)
This picture was shot early in the morning, just after sunrise, when a few milkmen are breaking the silence in the streets of Varanasi (Benaras).
The city wakes up on their path "and gradually reacquire colors"...
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THEME: www.youtube.com/watch?v=tUAcDMHuC2E
Introducing my Self-MOC! This is actually the 12th version (12.4 to be exact) and a character reboot, though, and I have revamped the whole thing again since this version, too. I will post a picture showing some of the previous versions (I don't have pictures of pre-7th versions, except for the very first), just so you can get an idea of the evolution of the character.
---DESCRIPTION---
Nicknamed "Rahksha" due to her Makuta heritage, Nyctoria is somewhat of a Toa: the most accurate way to put it is, she's a protector...of sorts. She has a strong link with the Netherverse, enabling her to draw on its dark power to perform necromancy, as well as harvest souls and summon them as Netherwalkers (inhabitants of the Netherverse) with her scythe. She can also reanimate corpses to serve her by using seals on their Kanohi.
However, the power of the Netherverse always takes it toll, and the user's soul - and therefore body - will decay the more they use it. The only way to maintain oneself is to harvest the souls of others. Hence, Nyctoria hunts down villains to defeat and consume.
While Nyctoria does defend others from Makuta and other threats, she is not altrustic in her motives -- she will just as easily consume innocents if there is no other source available, and rarely helps others unless she perceives them or the target as useful in her quest for revenge against her "father", Teridax -- and by extension, her de facto creator, Mutran.
As an individual, Nyctoria is largely anti-social, apathetic and an on-off misanthrope - hardly surprising considering her origins. That being said, she is not without a sense of justice and empathy, although her concept of morality is nonexistent at worst and dubious at best.
---BIO---
NAME: Nyctoria
ALIASES: Rahksha, Daughter of Teridax, Destral's Shadowborne
SPECIES: Rahkshi/Toa (mutant; Kraata infused with energy from a Nui Stone)
GENDER: Female
KANOHI: N/A
ELEMENT: Shadow
WEAPON: Harvest Scythe - "Slayer's Slave"
Weekend rail action in Lancaster County, Pennsylvania is all but nonexistent with Amtrak's Harrisburg line and Strasburg's passenger service suspended. Instead, my wife and I took a ride into Amish farm country to get out of our temporary apartment for a few hours yesterday. It's nice to travel the back roads without the usual tourist traffic.
Here a six-horsepower baler rig is scooping up the first cutting of hay on the nicest day so far this year. Apparently, solid steel wheels are no longer an option offered on New Holland equipment.
I went to Yellowstone during the last part of spring. The snow was still quite deep in the mountains, but in the Yellowstone valley is was relatively nonexistent except in the mountains. This is an image from the north end of Grand Prismatic Spring. The Grand Prismatic Spring gets its name from the many different colors that can be observed in the hot water which is caused by the bacteria living in microbial mats.
Grand Prismatic Spring is the largest hot spring in the United States and is about 160 °F.
Photographs are © Copyright Galactic Dreams (or others when indicated) and are not in the public domain and may not be used on blogs, websites, or in other media without advance written permission from Galactic Dreams.
There was a time when I had no trouble distinguishing a Rufous-crowned sparrow from a Winter White-crowned Sparrow or a Song Sparrow from Marsh sparrow. Chalk it up to age or something else - usually haste - but the one thing I have going for me is that I live in an area where, not only are there six species at any one time and in only one place, but no one east of the Sierras or Rockies knows them any better than I do, and I could list today's bird as a Costa Rican Andean first spring Sparrow which morphs into a White-crowned and no one would be the wiser ... except for me. And in the back of my head would be the voice of my mother, "You're only fooling yourself..." Well, who better to fool/ So this will be sparrow correction week, starting with yesterday's relatively scarce Rufous-crowned Sparrow. THIS IS a Rufous-crowned Sparrow whose range is spotty and westerns to southwestern. Just from the date, you can tell this is a bird I don't see often and I won't be chasing into the hills. Just lucky that I have six images of this critter. That leaves one of two problems: the first year's Golden-crowned Sparrow looks like the Rufous, and from the first winter on, there's no mistaking the Golden-crowned because it has ... a golden crown.
Now, the Oregon junco is also a sparrow as are both the Towhees. And then there's the American Tree, Bachman's, Baird's, Bell's, Black-chinned, Black Throated, Botrteri's, Brewer's, Cassin's, Chipping, Clay-colored, Eurasean Tree. Field, Five-striped, Fox, Grasshopper, Harris', Henslow's, House, Lark, Le Conte's, Lincoln's, Nelson's, Olive, Rufous-winged, Sagebrush, Saltmarsh, Savannah, Song, Swamp, Vesper, and those that don't have aparrow at all in their names. Of these, I have seven I'm sure of, but give me a year and I will have forgotten four of those. And there are some noted physicians and psychologists who think that they've got THE test for Alzheimer's! Hah. You fi8nd me someone with knows all 33 sparrows on sight (including the first year, the second year, the fifth April, breeding and nonbreeding, and the March Hare, and I'll show you someone who is momentarily sane and well on his way to senility. I think I'll take a day off and find the sparrows with the smallest geographical range, ame all of them where the range has the fewest people, and find someone who cares. Meanwhile, my nonexistent life's life just grew by 39 plus buntings and longspurs... If I had known all this 40 years ago, I might have set out to get one shot of each, written a book, "The Huge Year" and followed that up with a movie, called myself an expert, and had annual contests...
So, as I was saying, THIS is a Rufous-crowned Sparrow. My guidebook would read: "Male or Female Rufous-crowned Sparrow. Cute, isn't it?"
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!
This one was delayed for awhile, due to final projects (and that my idea for the description grew massively out-of-hand).
When I sorted through which designs could use to be remade, it was clear that this one was necessary, simply due to its significance to the Sol story line. It introduced energy weapons, as well as marked a big turn in the story.
Long description this time, I got carried away:
- --=#=-- - --=#=-- - --=#=-- -
Captain Phillips breathed deep the clean, natural tasting air of the retail concourse. Large amounts of greenery had been planted and painstakingly cultivated along the multi-mile stretch of terraced walkways and storefronts. Combined with a gratuitous number of fountains and waterworks, and a carefully selected population of aerial and aquatic fauna, gave the patrons a sense of refreshing clean and clarity. Rhodes was one of the oldest hive planets, planets so covered in urban sprawl as to have nonexistent (native) ecosystems and to require artificially projected atmospheres. Like most hive planets, the construction was thick, both in horizontal density but also in vertical depth. If Phillips was to lean over an external balcony railing, he would not be able to visible discern the ground below. It would be lost to smog and darkness. Not every hive was this developed, Rhodes was not only the oldest but also the most prestigious. Many high-profile inhabitants meant plenty of income to fund necessary works for such extreme infrastructure. It also meant luxury retail facilities, such as the one he currently wandered, designed to give a bright healthy feeling despite its existence on what could be best described as a dead corpse of a planet. An apt metaphor for the United Nations Galactic Council which was seated here, perhaps.
Phillips noted amusingly the fluttering feeling in his stomach, an unfamiliar sense of nervousness. What did he have to be nervous about? He was meeting with the Chancellor, sure, but why should the UNGC’s most loyal servant be afraid? He came from a loyal line. His father descended from a religious family, passionately dedicated to a holy war in their home system. It was a small comfort to his father, however, poorly trained and poorly equipped and desperately fighting for survival in a brutal deadlock. When UNGC forces invaded to restore order and peace- and annex the system under the UN umbrella -he was quick to throw down arms and join in the process of UN-sponsored restructuring. His mother was of noble blood, her family the ruling house of the crusading faction, who bucked the family wishes and enlisted herself alongside commoners. She was skilled scout for the army until the UNGC forces arrived. Then she used her political influence and personal charisma to persuade officers to defect to the UNGC instead of resisting. It was strange now to Phillips, though. He grew up believing this to be a heritage of loyalty to the UNGC, that his family was loyal the instant they were capable of doing so. Yet now, reflecting on his current circumstances, he realized his heritage was not of loyalty but of desertion. The loyal Captain Phillips had betrayed his country and was about to lie to the very face of the UNGC.
Phillips checked the time. His meeting was soon. He continued to stroll along the store fronts, approaching an outdoor eating area at the far end of the terrace. Here, several large, white canvas awnings had been extended to shelter the lunch rush diners from the harsh burn of the mid-day sun. Despite much research and many attempts to improve it, the artificially maintained atmosphere was inadequate at screening out all of the sun’s radiation. It was not so bad as to be a major concern, but a sunburn here was worse than most habitable planets. In other systems it was joked that this was the universe’ way of reminding UNGC politicians how the rest of the galaxy feels about their endless bureaucracy and empty-talk. Phillips passed the main canvas, following a narrow ramp connecting the canvas dining area to a nearby glass door. Here, in a shaded, air-conditioned oasis protected by high-grade ballistic glass, a small table had been positioned with an excellent view of the shopping terraces. Captain Phillips did his best to pay no mind to the honor guard standing stoically at the edges. Two chairs had been placed at the table but only one plate of food, in front of the only inhabited chair. Phillips respectfully took his place standing behind the empty chair and waited to be addressed.
“Captain Phillips? I understand congratulations are in order,” Chancellor Orpheus gestured for him to sit, “How was your journey home?”
“Satisfactory, sir. I enjoy the long jumps home, gives time to decompress, debrief, learn from mistakes.” Phillips found himself instinctively taking a more rigid posture, as one being interrogated by a superior. He took a deep breath and made himself relax. “You travel much out of system yourself, sir?”
The chancellor smiled, “No. There are too many important matters for me to leave Rhodes, let alone the capital system,” He set his plate carefully to one side, “You must have seen some truly incredible things with all of the systems you have visited…” Orpheus let his voice trail off as he fixed Phillips with a hard, piercing stare. “Tell me, Captain Phillips. Did anything in the Sol system impress you? Anything new?”
This was it, Phillips thought, this is the test. “Oh, you would be surprised, sir. The systems share much in common. There are minor differences, but everything falls into the same categories, same functions.” Does he know? Phillips fought down a fearful voice inside that wanted to run out of the room.
“I suppose that makes sense. A shame, it is exciting to imagine things being different,” Orpheus’ expression remained bright, but his tone became hard. “One would hope that such a notable situation as Sol’s would produce something interesting. Two sides in a massive system wide war joining together to fight the menace of a fanatical cult?”
Phillips shrugged, “War is war, sir. Some things never change.” He overcame his nerves finally and found his cool, returning the Chancellor’s piercing stare with his own. Orpheus’ expression hardened to match his tone, “Let me be direct, Captain Phillips,” He punctuated Phillips’ rank as if to emphasis the disparity between the two in the UN’s hierarchy, “There have been a lot of rumors and talk about the UNSD developing sophisticated energy weapons. Weapons that allowed them to withstand the overwhelming numbers and scientific abominations of the cult. Do these weapons exist?”
Phillips shrugged, “My job was to end the war, I did not pay close attention to the nature of the weapons, I just made sure they were adequately disarmed.” He allowed himself a slight ghost of a smile.
Orpheus’ nostrils flared, the only outward indication of the fire kindled inside. He raised his voice, “May I remind you that your job is to ensure that stability is maintained in the galaxy and that no local system disrupts the balance that the United Nation Galactic Council enforces. Your loyalty belongs to the greater galaxy, this is why we send you to end their wars the way we want, not the way they hope.”
Phillips’ resolution did not waver, “Sir, if the energy weapons existed, they were gone by the time we arrived. We heard the rumors, yes. We saw evidence of firepower that could have been those weapons. But no such weapon was recovered by our forces while we were enforcing the ceasefire.”
Phillips was not lying, not exactly. But an important truth was omitted. A truth Phillips made a promise to keep secret.
Eloquently articulated by Mr. Bizony. Accurately as well.
If I don’t promote myself, sure as hell ain’t no one else going to do it, hence this post.
Especially since a hodgepodge of tools have been regularly reposting my stuff all over the place for quite some time now with nary any attribution. That’s rude, selfish & arrogant. I don’t appreciate it. Common courtesy is basically nonexistent.
I won’t even get into being stiff-armed and just blatantly ignored - 6+ years & counting - by a variety of POS NASA ass-wipes.
The extract is at/from:
issuu.com/sirimadeeraysingsay/docs/the_art_of_nasa_the_il...
Credit: issuu website
Here are some of my Shanghai Airlines Crew. My Chinese First Officers were half my age and had between 750 to 2,500 total flying hours. I did my best to teach them English, Crew Resource Management/Threat Error Management (nonexistent when I began my contract) and, I taught them how to be future airline Captains. Some are serving as airline Instructors/Training Captains and serving as airline management, now. Did I make a difference in their lives and career trajectories? I would like to think so. I was their first foreign (Caucasian) Captain. There was a period of about a year, maybe longer, I was their only foreign Captain at the airline.
The First Officer sleeping is sitting in the Jump Seat, during Cruise flight. These poor fellows and the Cabin Crew were used and abused. It would not be uncommon to fly with First Officers or Cabin Crew who only had 4 hours sleep, because they would incur a penalty to their wages if or when they requested a day off to catch up on Crew Rest or particularly if they were sick. I often flew with sick Crewmembers, who would make everyone else sick. Cabin Crew were treated worse. I tried my best to serve as their Union Representative, arguing with management for fair and equal treatment, with Crew Scheduling and Chief Flight Attendant to give them the day off, without penalty. If the airline management said "No", then I would just refuse to fly with the Crew Member. So, they got the day off, anyway.
Airline management tried to give me a penalty for calling in sick. It happened only once, but they withdrew. There was no such provision in my contract. They were always trying to find loopholes in my contract. And, when that didn't work they would threaten to cancel the contract. Once, they called me back to China, a week early from my contractual and much deserved Annual Leave, for example, because they "made a scheduling mistake". Most of the time, I stood my ground, the airline management backed down, except for Safety issues, when I never backed down. All that said, I probably called in sick one day a year and I maintained about a 95% on-time departure rate, possibly higher.
In the photo, those were a few of my favorite First Officers to fly with, including "Sleepy". Surely, it is hard to learn much from observation, if sleeping, but it is equally difficult to learn when fatigued beyond comprehension. So, I would often let my two First Officers decide who wanted to fly first and let the other sleep through the duration of the first leg, then they would swap seats on the return trip. There were so many other First Officers not among these photos, who I thought so much of. One, named Xu Ming, came to Australia for a visit and called me, while he was here, briefly. And, we all enjoyed and looked forward to flying together. There were exceptions, of course, but it was mostly cultural resentment, from brainwashing. Many told me I was their favorite Captain.
The Cabin Crew were gorgeous and sweet. Most spoke very little English. Actually, most of my Crew spoke very little English, including many of my First Officers. I flew with one Chinese First Officer, who was such a nice guy, but he only spoke two words of English. The two most important words, "Thank you". I might as well have been flying Solo, in those instances. With agreement and coordination of management, airline Instructor Pilots, and senior First Officers, I established an S.O.P. and procedural Call-Outs (vernacular) consisting of single words, to action what I wanted them to set or for them to invite me to set for them, as we flew together. Of course, some resisted, "Why do I have to learn English?" During Cruise flight, I would use the Flight Management Computer screen on my side of the center console to type words and get them to say them and I would define those words for them. That S.O.P. of not more than 25 pages, grew in size and weight to become the airline's standard S.O.P. and a tome.
You can see that the crew were pretty happy to have me as their Captain. I always looked after my Crew. A happy Crew makes the working day so much easier. Often, it is not enough to be just a Captain. One must be a leader, a mentor, a teacher, a father, an older brother, a best friend to be confided in, a protector, a shepherd.
I never wanted to be like the arrogant pricks I flew with, when I was a First Officer or a Copilot. I tried very hard not to be like them. Sadly, so many of those types were USAF and USN pilots, Red Flag and Top Gun types, who thought they were better Pilots than they really were. I think they really hated flying beside an Army helicopter Pilot.
A couple of my Chinese First Officers still correspond with me, though it has been eight years ago. I had one manager tell me, over dinner one night, "Cassidy, you are a stubborn professional."
I went out with Matty to shoot some photos for an interview. We wanted to do something different, so we tried to incorporate Matty's love of the outdoors and his creativity into skating nonexistent "spots".
We rigged up this old washer and a plywood roll in on a bmx jump. The last part was rolling on the hard packed dirt.
"Excerpt from a book under publication :
"In this place lost at the bottom of a valley of the Moroccan High Atlas, outside of our training course of the high mountains, the distractions were nonexistent.With the friends, we had imagined to go down the wadi Ahansal on our air mattresses. So many laughs because it was difficult, in this fast current, cluttered with many rocks, to stay on the mattress.Furthermore, having only our swimsuits, without any protection, the shocks on the elbows and knees were many and painful.
By ensuring the spelling of names on the Internet, I discovered that the place has become a hot spot for intrernational rafting! "
* * *
En m’assurant de l’orthographe des noms sur Internet, je découvre que l’endroit est devenu un haut lieu du rafting ! "
------------
Extrait de l'ouvrage "Tentative de reconstitution d'un Paris-Dakar"
"Dans cet endroit perdu au fond d’une vallée (le Haut Atlas Marocain), en dehors du stage, les distractions étaient inexistantes. Avec les copains, nous avions imaginé de descendre l’oued sur nos matelas pneumatiques. Ce furent de belles rigolades car il était difficile, dans ce courant rapide, encombré de nombreux rochers, de se maintenir sur le matelas. De plus, n’ayant que nos maillots de bain, sans aucune protection, les chocs sur les coudes et les genoux étaient nombreux et douloureux."
BoD Editions. 236 pages.
13,99€ tinyurl.com/y9nqcago
The Rollin’s Band seminal 1992 record The End of Silence seemed fitting for this mornings sortie to the Iron Range sub. With some guidance from a friend I settled in at Rollins Minnesota, just south of Brimson, to wait out the arrival of U791. An hour or so of deep woods silence was broken by the sound of the 791 stopping up around the curve for a meet with the MRF. A short while later 791 appeared and the chase to Two Harbors ensued. I missed a good opportunity at Wales thanks to some dudes milling about the tracks near the south wye switch but a worthwhile shot at Waldo was had along with some decent video which is up on my almost nonexistent YouTube page. I’m no content creator and have zero aspirations to become one but as the days of the c40’s begin to draw to an end I figure some video for the sake of posterity was in order. The D-Day clock for the end of the Dash8’s (and eventually the EMD’s) moved one more minute towards midnight this afternoon with the first trip of the pair of straight air equipped 3300 rebuilds down Proctor hill, the end is near my friends…
"Why am I here, Otto?" Felicia asked, curious as to why she was summoned here, of all places. The lair of one Doctor Otto Octavius. More specifically, his office.
"It's Doctor Octavius to you, Ms. Hardy. And I don't know, you tell me. You came here of your own accord... To tell your story to secure a place in the plan. A plan that gives us that cursed arachnid on a silver platter. If you don't want to join--" Octavius replied, gently tapping the table with one of his tentacles.
"Right, no, I get that. I meant, why this office? Don't you think it's a little dull? That it could use more of a lavish touch." She replied, looking around the office.
"You have the audacity to come in here and insult my décor!" Octavius answered, growing slightly agitated. His tentacles were ready to attack at a moment's notice. Thankfully, the doctor was able to restrain himself, calming down moments later.
"I'm just saying, I've stolen from some of the wealthiest people in New York. There's nothing valuable here." Felicia acknowledged as she readjusted her sitting position.
"To you, perhaps... Which, in all honesty, is for the best. To me, it's perfect just the way it is." Octavius remarked, a small smile spreading across his face as he admired his handiwork.
After a moment of silence, the doctor spoke up once more.
"But enough with the pleasantries . Let's get on with the story." Octavius insisted, looking rather impatient.
"If you insist." Felicia simply replied, leaning back in her seat as she began her story.
---------------------------------
There it was.. The cat's-eye sapphire, shining brightly in its case. I knew from the moment I saw it that it had to be mine. Unfortunately, it was part of Wilson Fisk's private collection, which meant high security. But you know me, the harder the score, the more thrilling it is to pull it off. I always thought Fisk was more of an art guy. I guess that's mostly due to his wife's influence. Even the Kingpin of Crime can branch out and dabble in other prospective endeavors. I'm sure he won't mind me taking this off his hands. Not that I really care either way. If I'm being honest, he deserves far worse than this.
---------------------------------
"Cat's-eye sapphire? Even for you, it's a little on the nose." Otto commented, interrupting the story.
"That's rich, coming from you, Doctor Octopus... " She replied in a mocking tone.
"I didn't choose my name! Why doesn't anyone understand that?" Octavius lamented, before continuing. "Either way, what does this have to do with the wall-crawler?"
"You wanted the whole story, right? Be patient, Otto.. I'm getting to that.."
"Again, it's Octavius to you." The doctor muttered, but Felicia ignored him. She then continued her story, skipping over 'irrelevant details'.
---------------------------------
So, there I was... I had successfully exited the compound with the jewel in my hand. I was getting ready to make my great escape off the roof, when my cat sense started tingling. Instinctively, I place the jewel safely inside my backpack.
---------------------------------
"Cat sense? Is this a recent development? I don't recall that being one of your abilities." Octavius asked, curiously.
"You know what they say about curiosity and cats, don't you, Doc? I'm not looking to lose any more of my nine lives right now." Felicia replied, noticing Octavius' newfound interest.
"Yes, I'm aware... Curiosity killed the cat. Ha ha, so very amusing... He replied sarcastically before continuing his train of thought. "Could you elaborate on this cat sense, nonetheless?"
"Sure, I guess... A cat sense. Like how Spider has his sixth sense, I have mine." Felicia paused for dramatic effect. The doctor leaned in, intrigued. "It's called a woman's intuition." Felicia laughed, clearly amused, as she toyed with Doctor Octavius.
It's at this point that the doctor lowered his head in disappointment.
"Hey, you asked! Now, can you please stop interrupting me?" Felicia insisted, to which the doctor nodded his head.
"My apologies. Continue." Octavius apologized, clearly feeling defeated as he went back to writing on his notepad.
---------------------------------
I turned around, and sure enough, there he was.
"Look who decided to come play. Along came a spider... Here I thought tonight would be all work and no fun." I say with a smile, as I walk towards the hero.
"Nice to see you too, Felicia. I wish I could say it was under better circumstances." He replies, taking a few steps back.
"That's all you have to say to me? C'mon Spider... I know you love this dance of ours just as much as I do."
"I don't make for much of a dance partner. After all, I've been told I have two left feet." Spider jokes, but I could tell something was off.
"Is that what the redhead tells you? What's her name again? Michelle?" I lied, knowing full well what her name was. Mary Jane Watson. The good girl ... The perfect one that Spider always ends up with. How could she ever do anything wrong? Unlike me, the bad influence. That's all I'll ever be known as. Unfortunately, even that didn't get much of a response from him.
"Mary Jane." He replies, correcting me.
"Mary Jane.. Right. Michelle, Mary Jane, close enough. Does she know you're here right now, with me?"
"No...-- Well, we're not exactly on speaking terms right now." He says this while looking out at the Manhattan skyline.
"Awh, is that why you're so down? You know, I can take your mind off it." I say, trying to console him. I place my hand on the right side of his mask.
"Uhhm, I'm sure you could. But as tempting as that is, I'm afraid I'll have to decline. Superhero rep to protect and all.. You get that, right? We don't need to give J Jonah Jameson more ammunition in his webhead manhunt." Spider responds, slightly embarrassed, as he leaps back and up onto an elevated section of the rooftop, now in a crouched position.
It looks as though, for once, Spider didn't miss leg day. He fills out that spandex quite nicely.
---------------------------------
"I don't need to hear you objectifying that cursed arachnid! There's no relevance there. Give me the story of how you almost got him, nothing more, nothing less." Octavius interrupted once more, growing increasingly frustrated.
"It's important for context." Felicia responded with a huge smirk on her face.
"Doubtful, but fine... Continue." Otto sighed, continuing to write on his notepad.
---------------------------------
"You know this won't end well. Going after Fisk like this." He says, warning me, but it falls on deaf ears.
" After everything he's done... To you, me, and this city... He's got it coming." I reply, my voice seething with resentment.
"This isn't the way, Felicia. Deep down, you know that! I know your history with Fisk is complicated. But this will only make him angry. Are you really willing to risk a war with Wilson Fisk over a sapphire?"
"Heavy risk, but the prize... When it's this beautiful? Definitely." I pause for a few seconds before continuing, "Wait, are you worried about me?" I can feel myself getting slightly flustered over the thought.
"Is that really so surprising? Of course I am. I've seen firsthand what Fisk is capable of." Part of me gets disappointed when I hear that it's more about Fisk, than me.
"Are you saying I haven't?"
"No, I'm saying you're playing a dangerous game here, Felicia."
"You know as well as I do that I live for the danger."
"Yeah. I'm just afraid that this won't end well. Nine lives won't be enough to stop Fisk." He cautioned.
"It's cute, knowing that deep down, you do care. But I'll be just fine. I can take care of myself."
"A part of me will always care. Even though we're not together anymore, you're still important to me." He sighs. "That's why I can't let you do this. Please, just let me do this the right way!"
"How many times do I have to tell you, your way doesn't work ? Fisk, like all your foes, is free by day's end, every single time." I reply, slightly annoyed.
"Last chance, Felicia. Hand over the sapphire." He replies, trying his best to sound intimidating, while ignoring my criticism. But everything I've said is true. Whether Spider remains optimistic or not... Unfortunately, it won't stop him from trying to do the right thing .
"Oh, this little thing?" I ask, taunting him slightly by holding up the sapphire. "Sorry, but you know that's not happening. It looks like I've got to run. Catch me if you can, Spider." I winked at him, placing the jewel back in the backpack, before running towards the edge of the rooftop.
That's when one of our typical rooftop chases began. With him swinging after me as I leapt from rooftop to rooftop. Sometimes, I'd slow down just enough for him to catch up. He'd try to slow me down with his webs. It'd work, momentarily. Thankfully, my claws are sharp enough to cut through the webbing.
"You know, you can stop chasing me anytime now!" I say, looking over my shoulder, as I leap into the air, using my whip once more.
"I wouldn't have to chase you if you weren't running away!" He responds, thwipping and then tugging on my right foot with a webline. I hit the rooftop hard seconds later.
"If you wanted to play rough, you could've just asked!" I grunt, while still trying to recover from the impact of the fall.
"I'll be taking this! Yoink!" Spider exclaimed, yanking the backpack containing the sapphire with his webline.
"There's the Spider we all know and love." I say, biting my lip. Turning around, I ran towards him.
We exchange blows, from punches to kicks. Like usual, he's pulling his punches, but the ones that do land still hurt. Half of the fight is spent performing various acrobatics in an attempt to avoid the other. At one point, I managed to tackle him. My arms were holding his arms down, and my knees were on his chest.
He uses his webshooters to try to break free from the pin. But unfortunately for him, luck isn't on his side.
"Looks like you're out of webfluid. Talk about unlucky... Better luck next time." I say with a coy smile, leaning my face down, closer to his. I pull his mask up, so only his lips are exposed.
---------------------------------
"You're telling me that you had him pinned. You could've killed him right then and there. But you didn't?" Octavius interrupted for the final time.
"That's right." Felicia replied, nodding.
"Why? How could you possibly let that arachnid live?" Octavius asked, dumbfounded.
"Where's the fun in that? If I killed him, the dance would be over. And sorry, but I rather enjoy the dance me and Spider share."
"Clearly, this was a mistake. I gave you the benefit of the doubt, but you've completely wasted my time. Your shot at getting in is nonexistent."
"Kind of figured as much, thanks. I won't lose sleep over not getting into your sad little revenge club."
"Why show up if you knew you weren't interested?" Octavius questioned.
"I was bored, and I had some time to kill. Also, I was curious to see whose asses Spider will be kicking in a few weeks, whenever this plan of yours comes to fruition. Even if you're only locked up for a couple days... That, and I wanted to see how much I could rile you up. Since you know, I haven't forgotten about the time you punched me in the face... Costed me a tooth. Back when you were masquerading as Spider. The nerve you had doing that... I can't wait to see this Six flop like all the others." Felicia mused before leaving Octavius' office.
"This will be an excruciatingly long day." Octavius muttered to himself as the next applicant entered, coming from the waiting room.
The Doctor's electrifying search continues in INTERVIEW WITH AN OCTOPUS: ELECTRO!
FOR IMMEDIATE RELEASE
MANIFESTO GLEITZEIT 2015
BY STELLY RIESLING
Featured below is another original art work of mine in homage to THE PIONEER OF INVISIBLE ART — PAUL JAISINI. Forget all the copycats that came after him — Master Paul Jaisini was the *FIRST* of a totally original concept and the *BEST*. My favorite thing about him is that he’s a voice, not an echo, which is quite rare.
DISCLAIMER: This is for anyone who is a hater OR wishes to better understand me, what I’m all about, so you can decide whether I’m weird or normal enough for you — a kind of very loose manifesto, rushed and unrevised, full of raw uncut emotion that I don’t like to be evident in my writing as lately I prefer a more professional, formal style, so we can consider this a rough draft of the more polished writing to come when I have extra time. I might return to this text later and clean it up or break it into separate parts. Right now it’s a long-winded hot mess, so if you manage to make any sense of it, BIG PROPS TO YOU. lol …and if you manage to read it ALL, you have my solemn respect!!! in a day when reading has been reduced to just catchy headliners and short captions of images once in a while. The consequence of this one-liner internet culture is non-linear, tunnel thinking, which is baaaaaad.
There lives among us a most enigmatic and charismatic creature named Paul Jaisini who led me into the wonderful world of art, not personally, but through descriptions of his artworks in essays written and published online by his friend, which painted the most fascinating images in my mind. Early on as a kiddo, I experimented with photography, simple point and shoot whatever looked attractive to me. Digital manipulation of my photographs with computer software followed… and somehow I learned useful drawing techniques along the way to combine existing elements with nonexistent ones, which allowed me to elevate the context for my ideas. Later, I started creating my own digital art from scratch for my friends and family as a favorite pastime. They would shower me with praise and repeatedly encouraged me to share my “different” vision with the rest of the world… it took a while and wasn’t easy to overcome the insecurity of not being good enough along with a gripping fear of being harshly criticized, but one day I woman-ed up and started publishing my work on the web, reminding myself that my livelihood didn’t depend on a positive reception.
Paul Jaisini’s role in all this has been to not disgrace myself, even if what I do is just a hobby. And I would never do him and other genius artists the disservice of calling myself a professional because I know I’ll never be as good as any of the GIANTS of pre-modern history. Be the best or be nothing, no middle ground.
People’s jealousy in the past, future and present over my obsessive love of Paul Jaisini, which they are well aware is purely plutonic, has caused them to despise the man and has made many relationships/friendships impossible for me. I refuse to have such people in my life because by harboring any negativity towards Paul, they unknowingly feel that way about me and express it to me. It’s their own problem for not realizing this. Paul’s new art movement, Gleitzeit, shaped me into the allegedly awesome girl I am today, giving my art more edge, more “sexy” because it refined my vision of the world and propelled me to attain the skills necessary to not dishonor my family name through tenacious pursuit of perfection. Since the beginning of my life, I attempted to depict what I saw in visual, musical and literal forms, but continuously failed without adequate training and determination. Paul Jaisini’s Gleitzeit was the answer to my prayers. Who I am today I owe mostly to him and his selfless ideals of the artverse that I’ve given unconditional loyalty to (he has this cool ability for hyper-vision to see whole universes, not itty bitty worlds, hence I call it an artverse instead of art world, with him in mind). So again, anyone who hates Paul Jaisini hates ME because, regardless of what he means to you, he is the most important person in my life for making me ME. The way a famous actor, dancer or singer inspires others to act, dance or sing, Paul inspired me to become a better artist, better writer, better everything. More people would understand if he was a household name because they’re wired to in society. But we’re inspiring each other all the time in our own little communities without being famous, so if someone has the ability to change even ONE person’s life immensely with creativity, it is a massive achievement. And passionate folks like myself are compelled to scream it from the cyber rooftops. So here I am. It’s whatever.
Furthermore, I’d like to address here a few pressing matters in light of some recent drama brought on by both strangers and former friends. To start, I never judge the passions, interests or likes of others, which are often in my face all over the place, so likewise they have no right to judge any of mine. It is quite unfortunate and frustrating how very little understanding and education the majority of people have or want to have. Their logic is as primitive as a chipmunk when it comes to promotion of fine art on the web: “spamming, advertising, report!” It’s their own problem that they fail to understand what it’s about due to the distorted lens through which they see the world or inability to think for themselves; an inherent lack of perception or inquisitiveness. Well, guess what? Every single image, every animation, every video, every post dedicated to Mr. Paul Jaisini and “Gleitziet” (to elaborate: a revolutionary new art movement Paul founded with his partner in crime and personal friend, EYKG, who discovered him and believed in him more than anyone) has an important purpose. Every one of those things you run across is a piece of a puzzle, a move in a game, an inch down a rabbit hole; the deeper you go, the more interesting it gets; the more levels you pass, the more clues unfold, the greater the suspense and nearer the conclusion (yet further). You earn awesome rewards like enlightenment, spiritual revelations, truths, knowledge, wisdom and the most profound reward of all: the drive to improve yourself to the absolute maximum, so an unending, unshakable drive. People often make a wrong turn in this cyber game and go back a few levels or get stuck. Those that keep on pushing, however, will come to find the effort has been worth it. And what awaits you in the end of it all? The greatest challenge to beating the game: YOUR OWN MIND. You will be forced to let go of every belief you held before you had reached the last level, to completely alter your mindset and perception of the world, of life, of yourself. But by the time you’ve gotten to that point, it will be as easy as falling off a cliff! (It is a kind of suicide after all — death and rebirth of spirit.)
Paul Jaisini does NOT, *I repeat* does NOT use mystery and obscurity to his advantage as a clever marketing ploy, no, he’s too next level for that with a consciousness so rich, he should wear a radioactive warning sign (he’ll melt your brain, best wear a tinfoil hat in his presence as I certainly would.) The statement he makes is loud and clear, hidden in plain site for those who take the time to connect the dots and have enough curiosity to fuel their journey into unknown territory (an open mind and flexible perception helps a lot). Actually, anyone with an IQ above 90 is sure to figure it out sooner or later. Hint: You don’t have to SEE an extraordinary thing with your eyes to know it exists, to understand it and realize its greatness — you can only feel it in your bone marrow, your spinal fluid, your heart and soul. The moment you do figure it out, as the skeleton key of the human soul, it will unlock the greatness and massive potential buried deep within, changing the doomed direction humanity is undoubtedly headed. I don’t speak in riddles, I speak in a clear direct way that intelligent humans will understand, so I’m counting on them.
GIG is an international group of artists and writers that support Paul Jaisini’s Gleitzeit. We started off as an unofficial fan club of Jaisini in 1996, comprised of only 6 individuals spanning 3 countries, and eventually escalated in status to an official fan group across the entire globe. A decade later it had grown to hundreds of fans. Nearly another decade later, there are thousands. Let’s not leave out another delightful group of vicious haters that have been around for nearly as long as us since the late 90s and have also grown in impressive numbers. Now, for the record (and please write this one down because I’m sick of repeating myself), Paul Jaisini himself is not part of our group and has nothing to do with us. He loves and hates us equally for butchering his name and making him appear as a narcissistic nut-job in his own words. He casts hexes on us for the blinding flash we layer over the art that members contribute to GIG — “disgusting-police-lights, seizure-inducing-laser-lightshow, bourgeois-myspace-effects retarded-raver shit” in Paul’s words. Ahh, how we love his sweet-talking us. In a desperate attempt to please him, those among us who make the art and animations have spent countless hours and sleepless nights trying to solve a crazy-complex quantum-physics type of equation = how to not create tacky or tasteless content. He does fancy some of it now, we got better, that’s something! In the reason stated below, our mission just got out of hand at some point.
What little is known about Paul Jaisini, even in all this time, is he’s a horrible perfectionist who slaughtered hundreds of innocent babies — I mean — artworks of remarkable beauty created by his own right hand (mostly paintings, some watercolors and drawings). He’s a fierce recluse who wants nothing to do with anyone or anything in life. But those few of us who know of an incredible talent he possesses (one could go as far as calling it a superpower), could not allow him to live his life without the recognition he FUCKING DESERVES more than any artist out there living today and, arguably, yesterday. We use whatever means necessary to reach more people, lots of flash and razzle-dazzle to lure them into our sinister trap of a higher awareness. Mwahaha! The visual boom you’ve witnessed in both cyber and real worlds, that is GIG’s doing — two damn decades of spreading an art virus — IVA. InVisibleArtitis… or a drug as in Intravenous Art. It’s whatever you want it to be, honey.
Our Gleitzeit International Group (GIG) started off innocently enough and gradually spiraled out of control to fight the haters, annoying the hell out of them as much as humanly possible. They don’t like what we do? WE DO MORE AND MORE OF IT. But never without purpose, without a carefully executed plan in mind collectively. If we have to tolerate an endless tidal wave of everyone’s vomit — e.g., idiotic memes and comics; dumbed-down one-liner quotes; selfies; so-called “art photography” passed through one-click app filters; mindless scribbles or random splatters by regular folks who have the nerve to call themselves serious/pro artists; primitive images of pets, babies, landscapes, random objects, etc… then people sure as shit are gonna tolerate what we put out, our animated and non-animated visual art designed for our beloved master, Paul Jaisini, who has shown us the light, the right path to follow, taught us great things and done so much for us — and so in our appreciation of him, we stamp his name on everything, for the sacrifices he has made in the name of art, to save our art verse, he’s a goddamn hero. There’s a book being written in his dedication where little will be left to the imagination about him.
If Paul Jaisini was as famous as Koons or Hirst, for example, people would know it’s not him posting stuff online with his name on it but fans creating fanart like myself among others. But noooooo, such a thing is unfathomable to most people - the promotion of another artist. Like, what’s in it for us? Uhh, nothing?? This is all NON-PROFIT bitches, the way art should be. It’s a passion FIRST, a commodity/commercial product/marketable item LAST and least. Its been that way for us since the early 90s to this day. Not a single member of GIG has sold an art work (neither has Paul Jaisini who’s a true professional) and we want to keep it that way. We do it for reasons far beyond ego. So advertising? Really? How the hell do you advertise or sell thin air, you know, invisible paintings, invisible anything? Ha ha, very funny indeed. The idea here is so simple, your neighbor’s dog can grasp it. Our motives: replace fast food for the mind with fine art, actual fine art. You know, creativity? Conscious thought? Talent? Skill? Knowledge? All that good stuff rolled into one to bring viewers more than a momentary ooohand aaahh reaction. Replace the recycled images ad nauseum; repetitious, worn-out ideas; disposable, gimmicky, money-driven fast art for simpletons. Stick with the highest of ideals and save the whole bloody planet.
Fine art is often confused with craft-making. This often creates bad blood between classically trained artists who put out paintings that leave a lasting impression, that make strong conversation pieces, that are thought-provoking and deep… and trained craftspeople whose skills are adequate to create decorative pieces for homely environments — landscapes, still lifes, animals, pretty fairies, common things of fantasy, and other simplicity. Skills alone are not enough for high art, you need a vision, a purpose, the ability to tell a story with every stroke of your brush that will both fascinate and terrify the viewers, arousing powerful emotions, illuminating. I have yet to see a visible painting in my generation that does anything at all for me, other than evoke sheer outrage and disgust. What a terrible waste of space and valuable resources it all is.
Paul Jaisini leads, we follow. He wishes to remain unknown - so do most of us. I’m next in line, slipping into recluse mode, no longer wanting to attach my face, my human image to my art stuff. I wish to be a nameless, faceless artist as well, invisible like P.J., and in his footsteps I too have destroyed thousands of my own artistic photography and digital art made with tedious, labor-intensive handwork. The whole point of this destruction is achieving the finest results possible by letting go of the imperfect, purging it on a regular basis, to make way for the perfect. I love what I do so it doesn’t matter, I know I’ll keep producing as much as I’m discarding, keeping the balance. Hoarding is an enemy of progress, especially the digital kind as there’s absolutely no limit to it. It’s like carrying a load of bricks on your back you’ll never use or need.
The watering down of creativity that digital pack ratting has caused as observed over the years is most tragic. For the creative individual, relying on terabytes of stock photos or OSFAP as I call them (Once Size Fits All Photos) instead of making your own as you used to when you had no choice, being 100% original, is a splinter in the conscience. It’s not evil to use stock of, say, things you don’t have access to (outer space, deep sea, Antarctica, etc.), but many digital artists I know today can’t take their own shot of a pencil ‘cause they “ain’t got no time for that!” How did they have time before? Did time get so compressed in only a decade?
Ohhhhh, and the edits, textures, filters, plug-ins and what-have-you available out there to everyone and their cats… are responsible for the tidal wave of rubbish that eclipses the magnificent light of the real talents.
I can tell you with utmost sincerity there is no better feeling on earth than knowing your creation is ALL yours, every pixel and dot, from the first to the last. It’s not always possible to make it so, but definitely the most rewarding endeavor. I’m most proud of myself when I can accomplish that.
Back to Paul Jaisini, from the start there have been a number of theories floating around on what his real story is. One of my own theories is that he stands for the unknowns of the world who can’t get representation, can’t get exhibited at a decent gallery because highly gifted/trained artists aren’t good enough - those kind of establishments prefer bananas, balloon dogs, feces, gigantic dicks/cunts, and all kinds of what-the-fucks…
So again, you don’t get the Paul Jaisini thing? That’s your problem. Don’t hate others for getting it. People are good, very good, at making baseless assumptions and impulsively spewing it as truth. They criticize and judge as if they’re high authorities on the subject yet they clearly lack education in fine art or art history and possess little to no talent or skill to back up their bullshit. My little “credibility radar” never fails. When they say I know this or I know that, I reply don’t say “I know” or state things as fact as a general rule of thumb - instead say “I assume/believe” and state the reasons you feel thus to appear less immature, especially about a controversial topic like invisible art. I have zero respect or tolerance for egomaniacs who think they know it all and act accordingly like arrogant pricks. Who can stand those, right? Once again, a good example would be: I, Stelly Riesling, believe everything I’ve written in this little manifesto to be correct based on personal experience and observation from multiple angles, thorough research and sufficient data collected from verifiable sources (and don’t go copying-pasting my own words back at me, be original). Just because you or I say so doesn’t make it so. Just because you or me think or believe so doesn’t make it true or right. I only ask that my opinions are regarded respectfully and whoever opposes them does so in a mature, civilized manner. We should only be entitled to opinions that don’t bring out the worst in us.
I don’t normally take such a position, but the time has come to stand up for what I believe in! It’s quite amusing and comical how haters think calling me names, attacking me or my interests or members of the project I’m part of for years is going to change something. It only makes more evident the importance of what I’m doing so I push on harder still.
Words of advise to those who can identify with me, with my frustrations over people’s reluctance to change their miserable ways, with our declining art world…
DON’T waste time on people who sweat the small stuff, whose actions are consistently inconsistent with their words. DO waste time on people who always keep their eye on the ball—the bigger picture of life.
Paul Jaisini’s invisible paintings are more than hype, more than your lame assumptions. Here’s one I got that’s pure gold: a cult! It started out as A JOKE OF MINE that was used against me. I told a then-good friend that he should come join our little “art cult” in a clearly lighthearted manner, and later he takes this idea I put in his head first and accuses me of being in an (imaginary) cult—the jokes on me eh?. But wait, aren’t cults religious? Our group consists of people around the world of different faiths (or none at all) so how could that ever work? If religion was about making fine (non-pop) art mainstream and bringing awesome, fresh, futuristic concepts to the collective consciousness, the world would not be so fucked up today because talent, creativity, originality and individuality would be the main focus, not superficial poppycock; those things would be praised and encouraged and supported in society by all institutions, not demonized and stigmatized.
Here is one thing I CAN state as solid fact: only one person close to Paul Jaisini knows the TRUE story, or at least some of it: EYKG. Everything else that has ever been said about him is myth, legend, gossip, speculation, the worst of which is said by jealous non-artists (wannabes, clones, posers, hang-ons, unoriginal ppl in general) and anti-artists (religious psychos, squares, losers and -duh- stupid ppl). Sadly, people are unable to see the bigger picture by letting their egos run their lives or repeating after others as parrots.
Commercial art, consumerism, and ignorance of the masses truly makes me want to curl up in a ball, not eat or drink or move until I die, just die in my sleep while dreaming of a better world, a world where real fine artists rule it with real fine art as they used to and life is beautiful once again….
Well I hope that settled THAT for now, or perhaps inadvertently made matters worse. I hope I didn’t sound too pissed from all these issues that keep popping up like penises on ChatRoulette… just got to me already! Can you tell? I had to put my foot down, stomp ‘em all!
To be continued, still lots more ignorance and pettiness to battle… Till then peace out my bambini. MWAH!
FOR IMMEDIATE RELEASE
MANIFESTO GLEITZEIT 2015
PROLOGUE
Paul Jaisini was like a messiah, as you wish, who saw/understood the impending end and complete degeneration of Fine art or Art become and investment nothing more than that. He predicted the bubble pops art when everybody would eventually become an artist, including dogs cats and horses, because they as kids followed the main rule: express yourself without skills or knowledge or any aesthetic concerns. J. Pollack started pouring paints onto canvases; Julian Schnabel, former cab driver from NY, suddenly decided he could do better than what he saw displayed in galleries, so he started gluing dishes on canvases; A.Warhol, an industrial artist who made commercial silk-screen for the factories he worked in, started to exhibit "Campbell's soup" used for commercial adds... and later the thing that made him an "American Idol": by copying and pasting Hollywood celebrities (same type of posters he made before for movie theaters).
When Paul Jaisini stood out against the Me culture in the US by burning all of his own 120 brilliant paintings (according to the then-new director of Fort Worth MoMa Museum, who offered hin an exhibition of his art in 1992, and later the Metropolitan Museum curator, Phillippe de Montebello, in 1994).Paul probably assumed all fellow true fine artists would join him or stand by him against corruption of the art world.
And after 20 years of his stand-off...the time has finally come today. Many artists and humanitarians around the world took a place beside him. His invisible Paintings became a synonym for the future reincarnation of fine art and long lost harmony. The establishment is in panic! The "moneybags" (as Paul Jaisini named them) are in panic, because they invested BILLIONS of dollars in real crap made by craftsmen. Now they realize that the reputation of American legends of expressionism was nothing but a copy of Russian avant-garde" Kazimir Malevich, Vasiliy Kandinsky and tens of others from France and Germany.. US tycoon investors were spending billions on "Me more original, than you". "Artist Shit" is a 1061 artwork by the Italian artist Piero Manzoni. The work consists of 90 tin cans, filled with feces. A tin can was sold for £124,000, 180,000 at Sothebys, 2007.
EPILOGUE
Before I resume promoting and admiring a very important art persona on today's international art arena, I'd like to clear up some BIG questions; people ask continuously and subconsciously, directly & indirectly: "Why does the name Paul Jaisini, flood the Internet in such "obnoxious" quantities that it's started suppressing some other activities that my friends might share with the rest of the Internet's Ego Me only Me www society? I can't just answer this... so I'll try to explain why I'm writing this: Jaisini's followers keep posting art and info about,
He IMHO the only hope in quickly decomposing visual fine art. "Paul Jaisini realized many years ago, in 1994, when he declared (at that time to himself only) the start of a New era, a New vision, that he is trying to redirect from the rat race, started by an establishment in post-war New York, long before the Internet culture.
Sub related information: Adolf Gottlieb, Mart Rothko, etc (after visiting Paris France in 1933):
"We must forget analytical art, we must express ourselves, as a 5 year old child would, without a developed consciousness. Forget about results - do what you feel, EXPRESS yourself with your own unique style"
With this statement Mark Rothko starts to teach his students, degeneration of fine art begins, and the generation of war of styles took a start signal of the material race, greatly rewarded by establishment "individual" - eccentric craftsmen - show business clowns.
Sub related Information: In the summer of 1936, Adolf Gottlieb painted more than 800 paintings, which was 20X more than he created in his whole art career as a painter, starting from the time of Gottlieb becomes a founding member of "The Ten" group in NYC "Group of Ten" was a very peculiar, enigmatic group... Based on a religious point of view;(where a human figure was prohibited from being created)
GLOSSARY
IN 1997, Paul Jaisini's best friend Ellen Y.K.Gottlieb started a cyber campaign by promoting on a very young Internet, back then, Paul Jaisini's burned paintings as Invisible Paintings, visible only through poetic essays. She and a handful of people saw his originals and were devastated that nobody could ever see them again. "We, his fans, believe that someday Paul will recreate his 120 burned paintings if he has any decency and moral obligation to his fans, who have dedicated decades to make it happen, for their Phoenix to rise from the ashes and the whole world will witness that all these years we spent to get him back to re-paint the Visuals again were not in vain," - said E.Y.K.Gottlieb in 2014 during the 20th anniversary celebration of Invisible Paintings to GIGroup in NYCity. So now, hopefully, this clears up why I and others do what we do - our "cyber terrorism" of good art, dedicated to Paul Jaisini's return, which is & and was our mission & our goal. We post good art to fight "troll art" which is worthless pics, after being passed through 1-click filters of free web apps. We are, in fact, against this www pops pollution, done with "bubble art" by the out of control masses with 5 billon pics a day: Pics of cats, memes, quotes,national geographic sunsets and waterfalls, not counting their own daily "selfies: and whatever self-indulging Me-ego-Me affairs, sponsored happily by photo gadget companies like Canon, Nikon, Sony...who churn out higher quality madness tools at lower cost.
This way Government taking away attention from the real world crisis of lowest morality & economical devastation. The masses are too easily re-engineered/manipulated by the Establishment PopsStyle delivered to them by pop music and Hollywood "super" stars. In 1992 Paul Jaisini's Gleitzeit theory predict such a massive, pops self-entertain madness, following technological explosion, but not in illusive scales.
Uber Aless @2015 NYC USA
NOTE Date's numbers and events can be slightly inaccurate.
#gleitzeit #paul-jaisini #invisible #painting #art #futurism #art-news,
Native to high elevations in northeast India, China, Burma, and Thailand, Vanda coerulea is prized for its flowers' rich blue, a color rare among cultivated orchids. Wild populations of this orchid are almost nonexistent today because local growers have overharvested them for the international horticulture trade.
Although they say a rich blue color the picture they had was more of a purple..
Seen in Explore 10-6-09 # 462
I have been nonexistent here lately and for that I apologize to all of my awesome contacts. I have just been so busy with life that something had to give...unfortunately it is Flickr right now. I promise I'll be back on soon...and will try to be a better contact!
Happy Earth Day everyone!
WEEK 17 – Southaven Gordmans Liquidates Again (VII)
For this shot I’m standing exactly even with the front entrance of the store, and have turned to face back over to the front right corner, such that we’re overlooking the entirety of the juniors department. The cart storage area can also be seen a little bit; we’ll explore that closer in a few clicks.
While the merchandise was indeed probably thinner than normal (although, again, I can’t say that for certain – remember, it’s possible Stage cut that down from what Gordmans 1.0 would have had)… I’d still argue that the lack of any merchandise on the wall is what makes this scene look emptier than anything else. Compare to this (somewhat comparable) view and let me know what you think.
(c) 2021 Retail Retell
These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)