I'm gobsmacked by several things here. First, the light was nonexistent. Yet the Sony A7RII performed extremely well at incredibly high ISO. Second, using knowledge developed around a digital Zone System, I knew precisely where I wanted the tonal values and was able to place them accordingly. Third, I am happy to confirm the dynamic range of the sensor extends usefully to below Zone 0 (Zone -2!), even at such high ISO settings. Fourth, 1950s German optics can do the trick. These images were made using a triplet wide angle. Who would design such a thing and make it work? Micro-contrast is something to be seen, otherwise you wouldn't believe it.

Ever since seeing Tipsoo Lake for the first time I have dreamed of the time that I would be able to get there before sunrise and capture Mt. Rainier reflected in the water with wildflowers in front. It would be difficult to describe just how beautiful Mt. Rainier is right now, on the Sunrise side. The late snow melt made for a spectacular fall display with all of the flowers blooming at one time. The meadows are thick with wild lupine, as if a carpet. Around every curve is another "wow." And I have been to the mountain many time. Many of the locals say that it doesn't get any better than this. What a way to begin my adventure!

 

On Monday I put my belongings into storage, packed my car and arrived at Mt. Rainier at midnight. It was a tough goodbye but I had no idea of the beauty that was in front of me. On Tuesday a friend that I met at Paradise last December drove up and we spent the afternoon hiking at sunrise. And we were joined by two people that we met on the trail. Wednesday Joy and I were at Tipsoo before sunrise and had it all to ourselves. Afterwards we did another hike at Sunrise before she left and I went to visit Ohanapecosh. Afterwards a swim, a shower and a good nights sleep. Thursday was early morn at Sunrise, the Naches Loop trail and then the Silver Falls Loop trail in the later afternoon. And now at another wonderful condo on Crystal Mountain! Ahead is a sunset gondola ride and more hikes in wildflowers.

 

This is the first time all week that I have been able to upload photos to Flickr because access has ranged from nonexistent to sporadic and slow.

The greatest LEGO Space theme that never was, Seatron was conceived right after Futuron and would have given us our first (and more creative and interesting) LEGO aliens most of a decade before the UFO theme released.

 

All we have is some intriguing preliminary shots of a fascinating theme with a white, black and trans red "surface" palate and an Aquanauts-like yellow, black and trans blue "underwater" palate.

 

Anyway, I think it would have been a great theme, and it's well worth a MOC or several. And it being FebRovery let's make a rover.

 

Probably the Seatron faction minifigures would have been more Futuron-like than CS-like, but my Futuron minifig supplies are practically nonexistent.

 

I've done some Seatron-like MOCs before, connected with the Ice Planet faction as explorers of a subsurface ocean within Planet Krysto (a subtheme I call "Ice Planet: Aquarius Project"), but this is my first actual Seatron MOC.

WEEK 25 – Southaven Walmart, 2015 Remodel (III)

 

Zoomed out to take a more overview-style shot of both the pharmacy box and its adjoining waiting area, alongside the hanging Cheap Impact-style “Pharmacy” sign above the department. Note that the pharmacy got wood-style flooring just like apparel: an unusual move for Walmart, but probably done to differentiate it better from the tiled actionway here (whereas that problem is nonexistent when the pharmacy is in its usual spot in the front of the store).

 

According to l_dawg2000, the pharmacy here indeed used to be in that more typical spot, but was relocated over here in the major 2009 Project Impact remodel this store got – i.e., the one that gave the store the original version of Impact, not this flat 2015 stuff. While Walmart would go on to ditch this effort and return the pharmacy to its usual spot in later new-builds, a standalone pharmacy box like this is nonetheless not super uncommon to find out there in the wild – certainly not as much as the fabled “restaurant-in-the-back” that this Southaven store also had for so long.

 

(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 :)

 

FOR IMMEDIATE RELEASE

MANIFESTO GLEITZEIT 2015

BY STELLY RIESLING

Featured below is another original art work of mine in homage to THE PIONEER OF INVISIBLE ART — PAUL JAISINI. Forget all the copycats that came after him — Master Paul Jaisini was the *FIRST* of a totally original concept and the *BEST*. My favorite thing about him is that he’s a voice, not an echo, which is quite rare.

DISCLAIMER: This is for anyone who is a hater OR wishes to better understand me, what I’m all about, so you can decide whether I’m weird or normal enough for you — a kind of very loose manifesto, rushed and unrevised, full of raw uncut emotion that I don’t like to be evident in my writing as lately I prefer a more professional, formal style, so we can consider this a rough draft of the more polished writing to come when I have extra time. I might return to this text later and clean it up or break it into separate parts. Right now it’s a long-winded hot mess, so if you manage to make any sense of it, BIG PROPS TO YOU. lol …and if you manage to read it ALL, you have my solemn respect!!! in a day when reading has been reduced to just catchy headliners and short captions of images once in a while. The consequence of this one-liner internet culture is non-linear, tunnel thinking, which is baaaaaad.

There lives among us a most enigmatic and charismatic creature named Paul Jaisini who led me into the wonderful world of art, not personally, but through descriptions of his artworks in essays written and published online by his friend, which painted the most fascinating images in my mind. Early on as a kiddo, I experimented with photography, simple point and shoot whatever looked attractive to me. Digital manipulation of my photographs with computer software followed… and somehow I learned useful drawing techniques along the way to combine existing elements with nonexistent ones, which allowed me to elevate the context for my ideas. Later, I started creating my own digital art from scratch for my friends and family as a favorite pastime. They would shower me with praise and repeatedly encouraged me to share my “different” vision with the rest of the world… it took a while and wasn’t easy to overcome the insecurity of not being good enough along with a gripping fear of being harshly criticized, but one day I woman-ed up and started publishing my work on the web, reminding myself that my livelihood didn’t depend on a positive reception.

Paul Jaisini’s role in all this has been to not disgrace myself, even if what I do is just a hobby. And I would never do him and other genius artists the disservice of calling myself a professional because I know I’ll never be as good as any of the GIANTS of pre-modern history. Be the best or be nothing, no middle ground.

People’s jealousy in the past, future and present over my obsessive love of Paul Jaisini, which they are well aware is purely plutonic, has caused them to despise the man and has made many relationships/friendships impossible for me. I refuse to have such people in my life because by harboring any negativity towards Paul, they unknowingly feel that way about me and express it to me. It’s their own problem for not realizing this. Paul’s new art movement, Gleitzeit, shaped me into the allegedly awesome girl I am today, giving my art more edge, more “sexy” because it refined my vision of the world and propelled me to attain the skills necessary to not dishonor my family name through tenacious pursuit of perfection. Since the beginning of my life, I attempted to depict what I saw in visual, musical and literal forms, but continuously failed without adequate training and determination. Paul Jaisini’s Gleitzeit was the answer to my prayers. Who I am today I owe mostly to him and his selfless ideals of the artverse that I’ve given unconditional loyalty to (he has this cool ability for hyper-vision to see whole universes, not itty bitty worlds, hence I call it an artverse instead of art world, with him in mind). So again, anyone who hates Paul Jaisini hates ME because, regardless of what he means to you, he is the most important person in my life for making me ME. The way a famous actor, dancer or singer inspires others to act, dance or sing, Paul inspired me to become a better artist, better writer, better everything. More people would understand if he was a household name because they’re wired to in society. But we’re inspiring each other all the time in our own little communities without being famous, so if someone has the ability to change even ONE person’s life immensely with creativity, it is a massive achievement. And passionate folks like myself are compelled to scream it from the cyber rooftops. So here I am. It’s whatever.

Furthermore, I’d like to address here a few pressing matters in light of some recent drama brought on by both strangers and former friends. To start, I never judge the passions, interests or likes of others, which are often in my face all over the place, so likewise they have no right to judge any of mine. It is quite unfortunate and frustrating how very little understanding and education the majority of people have or want to have. Their logic is as primitive as a chipmunk when it comes to promotion of fine art on the web: “spamming, advertising, report!” It’s their own problem that they fail to understand what it’s about due to the distorted lens through which they see the world or inability to think for themselves; an inherent lack of perception or inquisitiveness. Well, guess what? Every single image, every animation, every video, every post dedicated to Mr. Paul Jaisini and “Gleitziet” (to elaborate: a revolutionary new art movement Paul founded with his partner in crime and personal friend, EYKG, who discovered him and believed in him more than anyone) has an important purpose. Every one of those things you run across is a piece of a puzzle, a move in a game, an inch down a rabbit hole; the deeper you go, the more interesting it gets; the more levels you pass, the more clues unfold, the greater the suspense and nearer the conclusion (yet further). You earn awesome rewards like enlightenment, spiritual revelations, truths, knowledge, wisdom and the most profound reward of all: the drive to improve yourself to the absolute maximum, so an unending, unshakable drive. People often make a wrong turn in this cyber game and go back a few levels or get stuck. Those that keep on pushing, however, will come to find the effort has been worth it. And what awaits you in the end of it all? The greatest challenge to beating the game: YOUR OWN MIND. You will be forced to let go of every belief you held before you had reached the last level, to completely alter your mindset and perception of the world, of life, of yourself. But by the time you’ve gotten to that point, it will be as easy as falling off a cliff! (It is a kind of suicide after all — death and rebirth of spirit.)

Paul Jaisini does NOT, *I repeat* does NOT use mystery and obscurity to his advantage as a clever marketing ploy, no, he’s too next level for that with a consciousness so rich, he should wear a radioactive warning sign (he’ll melt your brain, best wear a tinfoil hat in his presence as I certainly would.) The statement he makes is loud and clear, hidden in plain site for those who take the time to connect the dots and have enough curiosity to fuel their journey into unknown territory (an open mind and flexible perception helps a lot). Actually, anyone with an IQ above 90 is sure to figure it out sooner or later. Hint: You don’t have to SEE an extraordinary thing with your eyes to know it exists, to understand it and realize its greatness — you can only feel it in your bone marrow, your spinal fluid, your heart and soul. The moment you do figure it out, as the skeleton key of the human soul, it will unlock the greatness and massive potential buried deep within, changing the doomed direction humanity is undoubtedly headed. I don’t speak in riddles, I speak in a clear direct way that intelligent humans will understand, so I’m counting on them.

GIG is an international group of artists and writers that support Paul Jaisini’s Gleitzeit. We started off as an unofficial fan club of Jaisini in 1996, comprised of only 6 individuals spanning 3 countries, and eventually escalated in status to an official fan group across the entire globe. A decade later it had grown to hundreds of fans. Nearly another decade later, there are thousands. Let’s not leave out another delightful group of vicious haters that have been around for nearly as long as us since the late 90s and have also grown in impressive numbers. Now, for the record (and please write this one down because I’m sick of repeating myself), Paul Jaisini himself is not part of our group and has nothing to do with us. He loves and hates us equally for butchering his name and making him appear as a narcissistic nut-job in his own words. He casts hexes on us for the blinding flash we layer over the art that members contribute to GIG — “disgusting-police-lights, seizure-inducing-laser-lightshow, bourgeois-myspace-effects retarded-raver shit” in Paul’s words. Ahh, how we love his sweet-talking us. In a desperate attempt to please him, those among us who make the art and animations have spent countless hours and sleepless nights trying to solve a crazy-complex quantum-physics type of equation = how to not create tacky or tasteless content. He does fancy some of it now, we got better, that’s something! In the reason stated below, our mission just got out of hand at some point.

What little is known about Paul Jaisini, even in all this time, is he’s a horrible perfectionist who slaughtered hundreds of innocent babies — I mean — artworks of remarkable beauty created by his own right hand (mostly paintings, some watercolors and drawings). He’s a fierce recluse who wants nothing to do with anyone or anything in life. But those few of us who know of an incredible talent he possesses (one could go as far as calling it a superpower), could not allow him to live his life without the recognition he FUCKING DESERVES more than any artist out there living today and, arguably, yesterday. We use whatever means necessary to reach more people, lots of flash and razzle-dazzle to lure them into our sinister trap of a higher awareness. Mwahaha! The visual boom you’ve witnessed in both cyber and real worlds, that is GIG’s doing — two damn decades of spreading an art virus — IVA. InVisibleArtitis… or a drug as in Intravenous Art. It’s whatever you want it to be, honey.

Our Gleitzeit International Group (GIG) started off innocently enough and gradually spiraled out of control to fight the haters, annoying the hell out of them as much as humanly possible. They don’t like what we do? WE DO MORE AND MORE OF IT. But never without purpose, without a carefully executed plan in mind collectively. If we have to tolerate an endless tidal wave of everyone’s vomit — e.g., idiotic memes and comics; dumbed-down one-liner quotes; selfies; so-called “art photography” passed through one-click app filters; mindless scribbles or random splatters by regular folks who have the nerve to call themselves serious/pro artists; primitive images of pets, babies, landscapes, random objects, etc… then people sure as shit are gonna tolerate what we put out, our animated and non-animated visual art designed for our beloved master, Paul Jaisini, who has shown us the light, the right path to follow, taught us great things and done so much for us — and so in our appreciation of him, we stamp his name on everything, for the sacrifices he has made in the name of art, to save our art verse, he’s a goddamn hero. There’s a book being written in his dedication where little will be left to the imagination about him.

If Paul Jaisini was as famous as Koons or Hirst, for example, people would know it’s not him posting stuff online with his name on it but fans creating fanart like myself among others. But noooooo, such a thing is unfathomable to most people - the promotion of another artist. Like, what’s in it for us? Uhh, nothing?? This is all NON-PROFIT bitches, the way art should be. It’s a passion FIRST, a commodity/commercial product/marketable item LAST and least. Its been that way for us since the early 90s to this day. Not a single member of GIG has sold an art work (neither has Paul Jaisini who’s a true professional) and we want to keep it that way. We do it for reasons far beyond ego. So advertising? Really? How the hell do you advertise or sell thin air, you know, invisible paintings, invisible anything? Ha ha, very funny indeed. The idea here is so simple, your neighbor’s dog can grasp it. Our motives: replace fast food for the mind with fine art, actual fine art. You know, creativity? Conscious thought? Talent? Skill? Knowledge? All that good stuff rolled into one to bring viewers more than a momentary ooohand aaahh reaction. Replace the recycled images ad nauseum; repetitious, worn-out ideas; disposable, gimmicky, money-driven fast art for simpletons. Stick with the highest of ideals and save the whole bloody planet.

Fine art is often confused with craft-making. This often creates bad blood between classically trained artists who put out paintings that leave a lasting impression, that make strong conversation pieces, that are thought-provoking and deep… and trained craftspeople whose skills are adequate to create decorative pieces for homely environments — landscapes, still lifes, animals, pretty fairies, common things of fantasy, and other simplicity. Skills alone are not enough for high art, you need a vision, a purpose, the ability to tell a story with every stroke of your brush that will both fascinate and terrify the viewers, arousing powerful emotions, illuminating. I have yet to see a visible painting in my generation that does anything at all for me, other than evoke sheer outrage and disgust. What a terrible waste of space and valuable resources it all is.

Paul Jaisini leads, we follow. He wishes to remain unknown - so do most of us. I’m next in line, slipping into recluse mode, no longer wanting to attach my face, my human image to my art stuff. I wish to be a nameless, faceless artist as well, invisible like P.J., and in his footsteps I too have destroyed thousands of my own artistic photography and digital art made with tedious, labor-intensive handwork. The whole point of this destruction is achieving the finest results possible by letting go of the imperfect, purging it on a regular basis, to make way for the perfect. I love what I do so it doesn’t matter, I know I’ll keep producing as much as I’m discarding, keeping the balance. Hoarding is an enemy of progress, especially the digital kind as there’s absolutely no limit to it. It’s like carrying a load of bricks on your back you’ll never use or need.

The watering down of creativity that digital pack ratting has caused as observed over the years is most tragic. For the creative individual, relying on terabytes of stock photos or OSFAP as I call them (Once Size Fits All Photos) instead of making your own as you used to when you had no choice, being 100% original, is a splinter in the conscience. It’s not evil to use stock of, say, things you don’t have access to (outer space, deep sea, Antarctica, etc.), but many digital artists I know today can’t take their own shot of a pencil ‘cause they “ain’t got no time for that!” How did they have time before? Did time get so compressed in only a decade?

Ohhhhh, and the edits, textures, filters, plug-ins and what-have-you available out there to everyone and their cats… are responsible for the tidal wave of rubbish that eclipses the magnificent light of the real talents.

I can tell you with utmost sincerity there is no better feeling on earth than knowing your creation is ALL yours, every pixel and dot, from the first to the last. It’s not always possible to make it so, but definitely the most rewarding endeavor. I’m most proud of myself when I can accomplish that.

Back to Paul Jaisini, from the start there have been a number of theories floating around on what his real story is. One of my own theories is that he stands for the unknowns of the world who can’t get representation, can’t get exhibited at a decent gallery because highly gifted/trained artists aren’t good enough - those kind of establishments prefer bananas, balloon dogs, feces, gigantic dicks/cunts, and all kinds of what-the-fucks…

So again, you don’t get the Paul Jaisini thing? That’s your problem. Don’t hate others for getting it. People are good, very good, at making baseless assumptions and impulsively spewing it as truth. They criticize and judge as if they’re high authorities on the subject yet they clearly lack education in fine art or art history and possess little to no talent or skill to back up their bullshit. My little “credibility radar” never fails. When they say I know this or I know that, I reply don’t say “I know” or state things as fact as a general rule of thumb - instead say “I assume/believe” and state the reasons you feel thus to appear less immature, especially about a controversial topic like invisible art. I have zero respect or tolerance for egomaniacs who think they know it all and act accordingly like arrogant pricks. Who can stand those, right? Once again, a good example would be: I, Stelly Riesling, believe everything I’ve written in this little manifesto to be correct based on personal experience and observation from multiple angles, thorough research and sufficient data collected from verifiable sources (and don’t go copying-pasting my own words back at me, be original). Just because you or I say so doesn’t make it so. Just because you or me think or believe so doesn’t make it true or right. I only ask that my opinions are regarded respectfully and whoever opposes them does so in a mature, civilized manner. We should only be entitled to opinions that don’t bring out the worst in us.

I don’t normally take such a position, but the time has come to stand up for what I believe in! It’s quite amusing and comical how haters think calling me names, attacking me or my interests or members of the project I’m part of for years is going to change something. It only makes more evident the importance of what I’m doing so I push on harder still.

Words of advise to those who can identify with me, with my frustrations over people’s reluctance to change their miserable ways, with our declining art world…

DON’T waste time on people who sweat the small stuff, whose actions are consistently inconsistent with their words. DO waste time on people who always keep their eye on the ball—the bigger picture of life.

Paul Jaisini’s invisible paintings are more than hype, more than your lame assumptions. Here’s one I got that’s pure gold: a cult! It started out as A JOKE OF MINE that was used against me. I told a then-good friend that he should come join our little “art cult” in a clearly lighthearted manner, and later he takes this idea I put in his head first and accuses me of being in an (imaginary) cult—the jokes on me eh?. But wait, aren’t cults religious? Our group consists of people around the world of different faiths (or none at all) so how could that ever work? If religion was about making fine (non-pop) art mainstream and bringing awesome, fresh, futuristic concepts to the collective consciousness, the world would not be so fucked up today because talent, creativity, originality and individuality would be the main focus, not superficial poppycock; those things would be praised and encouraged and supported in society by all institutions, not demonized and stigmatized.

Here is one thing I CAN state as solid fact: only one person close to Paul Jaisini knows the TRUE story, or at least some of it: EYKG. Everything else that has ever been said about him is myth, legend, gossip, speculation, the worst of which is said by jealous non-artists (wannabes, clones, posers, hang-ons, unoriginal ppl in general) and anti-artists (religious psychos, squares, losers and -duh- stupid ppl). Sadly, people are unable to see the bigger picture by letting their egos run their lives or repeating after others as parrots.

Commercial art, consumerism, and ignorance of the masses truly makes me want to curl up in a ball, not eat or drink or move until I die, just die in my sleep while dreaming of a better world, a world where real fine artists rule it with real fine art as they used to and life is beautiful once again….

Well I hope that settled THAT for now, or perhaps inadvertently made matters worse. I hope I didn’t sound too pissed from all these issues that keep popping up like penises on ChatRoulette… just got to me already! Can you tell? I had to put my foot down, stomp ‘em all!

To be continued, still lots more ignorance and pettiness to battle… Till then peace out my bambini. MWAH!

FOR IMMEDIATE RELEASE

MANIFESTO GLEITZEIT 2015

PROLOGUE

Paul Jaisini was like a messiah, as you wish, who saw/understood the impending end and complete degeneration of Fine art or Art become and investment nothing more than that. He predicted the bubble pops art when everybody would eventually become an artist, including dogs cats and horses, because they as kids followed the main rule: express yourself without skills or knowledge or any aesthetic concerns. J. Pollack started pouring paints onto canvases; Julian Schnabel, former cab driver from NY, suddenly decided he could do better than what he saw displayed in galleries, so he started gluing dishes on canvases; A.Warhol, an industrial artist who made commercial silk-screen for the factories he worked in, started to exhibit "Campbell's soup" used for commercial adds... and later the thing that made him an "American Idol": by copying and pasting Hollywood celebrities (same type of posters he made before for movie theaters).

When Paul Jaisini stood out against the Me culture in the US by burning all of his own 120 brilliant paintings (according to the then-new director of Fort Worth MoMa Museum, who offered hin an exhibition of his art in 1992, and later the Metropolitan Museum curator, Phillippe de Montebello, in 1994).Paul probably assumed all fellow true fine artists would join him or stand by him against corruption of the art world.

And after 20 years of his stand-off...the time has finally come today. Many artists and humanitarians around the world took a place beside him. His invisible Paintings became a synonym for the future reincarnation of fine art and long lost harmony. The establishment is in panic! The "moneybags" (as Paul Jaisini named them) are in panic, because they invested BILLIONS of dollars in real crap made by craftsmen. Now they realize that the reputation of American legends of expressionism was nothing but a copy of Russian avant-garde" Kazimir Malevich, Vasiliy Kandinsky and tens of others from France and Germany.. US tycoon investors were spending billions on "Me more original, than you". "Artist Shit" is a 1061 artwork by the Italian artist Piero Manzoni. The work consists of 90 tin cans, filled with feces. A tin can was sold for £124,000, 180,000 at Sothebys, 2007.

EPILOGUE

Before I resume promoting and admiring a very important art persona on today's international art arena, I'd like to clear up some BIG questions; people ask continuously and subconsciously, directly & indirectly: "Why does the name Paul Jaisini, flood the Internet in such "obnoxious" quantities that it's started suppressing some other activities that my friends might share with the rest of the Internet's Ego Me only Me www society? I can't just answer this... so I'll try to explain why I'm writing this: Jaisini's followers keep posting art and info about,

He IMHO the only hope in quickly decomposing visual fine art. "Paul Jaisini realized many years ago, in 1994, when he declared (at that time to himself only) the start of a New era, a New vision, that he is trying to redirect from the rat race, started by an establishment in post-war New York, long before the Internet culture.

Sub related information: Adolf Gottlieb, Mart Rothko, etc (after visiting Paris France in 1933):

"We must forget analytical art, we must express ourselves, as a 5 year old child would, without a developed consciousness. Forget about results - do what you feel, EXPRESS yourself with your own unique style"

With this statement Mark Rothko starts to teach his students, degeneration of fine art begins, and the generation of war of styles took a start signal of the material race, greatly rewarded by establishment "individual" - eccentric craftsmen - show business clowns.

Sub related Information: In the summer of 1936, Adolf Gottlieb painted more than 800 paintings, which was 20X more than he created in his whole art career as a painter, starting from the time of Gottlieb becomes a founding member of "The Ten" group in NYC "Group of Ten" was a very peculiar, enigmatic group... Based on a religious point of view;(where a human figure was prohibited from being created)

GLOSSARY

IN 1997, Paul Jaisini's best friend Ellen Y.K.Gottlieb started a cyber campaign by promoting on a very young Internet, back then, Paul Jaisini's burned paintings as Invisible Paintings, visible only through poetic essays. She and a handful of people saw his originals and were devastated that nobody could ever see them again. "We, his fans, believe that someday Paul will recreate his 120 burned paintings if he has any decency and moral obligation to his fans, who have dedicated decades to make it happen, for their Phoenix to rise from the ashes and the whole world will witness that all these years we spent to get him back to re-paint the Visuals again were not in vain," - said E.Y.K.Gottlieb in 2014 during the 20th anniversary celebration of Invisible Paintings to GIGroup in NYCity. So now, hopefully, this clears up why I and others do what we do - our "cyber terrorism" of good art, dedicated to Paul Jaisini's return, which is & and was our mission & our goal. We post good art to fight "troll art" which is worthless pics, after being passed through 1-click filters of free web apps. We are, in fact, against this www pops pollution, done with "bubble art" by the out of control masses with 5 billon pics a day: Pics of cats, memes, quotes,national geographic sunsets and waterfalls, not counting their own daily "selfies: and whatever self-indulging Me-ego-Me affairs, sponsored happily by photo gadget companies like Canon, Nikon, Sony...who churn out higher quality madness tools at lower cost.

This way Government taking away attention from the real world crisis of lowest morality & economical devastation. The masses are too easily re-engineered/manipulated by the Establishment PopsStyle delivered to them by pop music and Hollywood "super" stars. In 1992 Paul Jaisini's Gleitzeit theory predict such a massive, pops self-entertain madness, following technological explosion, but not in illusive scales.

Uber Aless @2015 NYC USA

NOTE Date's numbers and events can be slightly inaccurate.

#gleitzeit #paul-jaisini #invisible #painting #art #futurism #art-news,

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

DEAR PAUL:

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

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

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

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

  

Took a day trip by train to Strasbourg, France (versus Straßburg, Austria). We almost didn't make it back because of a railway strike. Strasbourg is a delightful university town encircled by a river and very pedestrian friendly (but watch out for the bikes!).

 

The old city is well maintained, very walkable (there's also a modern tram system), and most of the bridges are adorned with lots of beautiful flowers. The cathedral is very impressive, especially the exterior and contains an interesting astronomical clock with a number of moving figures that come to life on the hour.

 

There are even free, very clean public toilets on the cathedral square - a rarity in France (although we have seen an improvement this year) and nonexistent in Italy. Strasbourg also has an abundance of upscale shops, so they must be doing well economically, perhaps because the city is the official seat of the European Parliament.

With no one to pass it on to, I'm sadly organizing my huge baseball card collection for sale. Hundreds of thousands of cards that date back before I was born. Some over fifty years old. I was a personal collector which is almost nonexistent these days And it will be hard to sell my fond memories to people who only care about the cards' monetary value.

View On Black

    

SET 1 – West Point Wal-Mart

 

With this style of Wal-Mart signage so rare these days – heck, practically nonexistent, really – naturally I made sure to photograph it to the best of my ability. This shot is a super straight-on close-crop, and while it might be a bit much, I’d rather have it than not, lol.

 

I always liked the etchwork (?) on the WAL-MART lettering, and I liked seeing the SUPERCENTER lettering below that as well, although I’ve gotta admit, it would look more at home to me in the color yellow, haha. Also, I hate to burst anyone’s bubble on this if this is one of those things you won’t be able to unsee after I point it out, but… that “S” in “Supercenter” was installed incorrectly :/ An amazingly common mistake for any signs that contain the letter S, I tell ya…

 

Note also that a slightly different font was chosen for the word “Supercenter” from what’s shown in that linked image: I think that was a change that was made only in the last few years of this logo’s existence, prior to the switchover to the spark logo, condensed wordmark, and elimination of the Supercenter name.

 

(c) 2022 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 :)

 

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!

 

Salon-la-Tour is a commune in the Corrèze department in central France.

 

Violette Szabo, a 22-year-old British agent who was parachuted a second time into France, on 7 June 1944 (where she was to try to help obstructing the movement of German SS units from the south of France to Normandy), was captured near Salon-la-Tour.

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Violette Reine Elizabeth Szabo GC (née Bushell; 26 June 1921 – c. 5 February 1945) was a British-French Special Operations Executive (SOE) agent during the Second World War and a posthumous recipient of the George Cross. On her second mission into occupied France, Szabo was captured by the German army, interrogated, tortured and deported to Ravensbrück concentration camp in Germany, where she was executed.

 

Violette Szabo was born on 26 June 1921 in Paris, France, of parents Charles George Bushell and Reine Blanche Leroy, as the second child of five and the only daughter.

 

Szabo's father, son of a publican from Hampstead Norreys, was serving as a British Army driver in France during the First World War when he met her mother, a dressmaker originally from Pont-Remy, Somme. After the war the couple lived in London, where Charles worked as a taxi-driver, car salesman and shopkeeper.

 

During the early 1930s, as a result of the Great Depression, Violette and her youngest brother, Dickie, lived with their maternal aunt in Picardy, northern France. The family was reunited in South London when Violette was 11 years old. She was an active and lively girl, enjoying gymnastics, long-distance bicycling and ice-skating with four brothers and several male cousins. Violette was regarded as a tomboy, especially after being taught to shoot by her father; her shooting was reputedly very accurate.

 

While she had temporarily lost the ability to speak English in Picardy, Violette quickly relearned the language while attending school in Brixton. There she was reportedly popular and regarded as exotic owing to her ability to speak another language. Her home life was loving, though she often clashed with her strict father and once ran away to France after an argument. The family, except her monolingual father, would often converse in French.

 

At the age of 14, Violette went to work for a French corsetière in South Kensington and later worked at retailer Woolworths in Oxford Street. At the outbreak of World War II she was working at Le Bon Marché, a Brixton department store.

 

In early 1940 Violette joined the Women's Land Army and was sent to carry out strawberry picking in Fareham, Hampshire, but she soon returned to London to work in an armaments factory in Acton. She met Étienne Szabo, a decorated non-commissioned officer in the French Foreign Legion of Hungarian descent, at the Bastille Day parade in London in 1940, where Violette had been sent by her mother, accompanied by her friend Winnie Wilson, to bring home a homesick French soldier for dinner. They married at Aldershot Register Office in Manor Park on 21 August 1940 after a 42-day romance; Violette was 19, Étienne was 31. They enjoyed a week's honeymoon before Étienne set off from Liverpool to fight in the abortive Free French attack on Dakar, Senegal. From there, he went to South Africa before seeing action, again against the Vichy French, in the successful Anglo-Free French campaigns in Eritrea and Syria in 1941. He returned to the UK for a brief leave later in the year.

 

After her marriage, Violette became a switchboard operator for the General Post Office in central London, working throughout the Blitz. Bored by the job, she enlisted in the Auxiliary Territorial Service (ATS) on 11 September 1941. She was posted to Leicester for initial training before being sent to one of the first mixed anti-aircraft batteries of the 7th Heavy Anti-Aircraft Training Regiment, Royal Artillery in Oswestry, Shropshire for specialised instruction as a predictor and then to the 481st Heavy (Mixed) Anti-Aircraft Battery. After further training in Anglesey, Gunner Szabo and her unit were posted to Frodsham, Cheshire, near Warrington, from December 1941 to February 1942. Szabo found within weeks that she was pregnant, so she left the ATS to return to London for the birth.

 

Szabo took a flat in Notting Hill, which was to be her home until she left for her second mission to France in June 1944. On 8 June 1942, she gave birth to Tania Damaris Desiree Szabo at St Mary's Hospital while Étienne was stationed at Bir Hakeim in North Africa. The following day, he took part in a valiant defence against the Afrika Korps, escaping with his battalion from the assault of the 15th Panzer Division on 10 June.

 

Violette sent her baby to childminders while she worked at the South Morden aircraft factory where her father was stationed. During this period, she was informed of her husband's death in action. Étienne had died on 24 October 1942 from chest wounds received while leading his men in a diversionary attack on Qaret el Himeimat, at the beginning of the Second Battle of El Alamein; he had never seen his daughter. It was Étienne's death that made Violette accept an offer to train as a field agent in the British Special Operations Executive (SOE) as her best way of fighting the enemy that killed her husband.

 

Special Operations Executive

 

It is unclear how or why Szabo was recruited by F-Section, as her surviving official file is thin, but her fluency in French and her previous service in the ATS probably brought her to the attention of SOE. She would have been invited to an interview regarding war work with E. Potter, the alias of Selwyn Jepson, a detective novelist and the F-Section recruiter. Szabo was given security clearance on 1 July 1943 and selected for training as a field agent on 10 July. She was commissioned as a section leader in the First Aid Nursing Yeomanry, a civilian service often used by SOE as a cover for female agents.

 

After an assessment for fluency in French and a series of interviews, Szabo was sent from 7–27 August to STS 4, a training school at Winterfold House, and after a moderately favourable report, to Special Training School 24 of Group A at Arisaig in the Scottish Highlands in September and October. Szabo received intensive instruction in fieldcraft, night and daylight navigation, weapons and demolition. Again her reports were mixed, but she passed the course and moved on to Group B.

 

Szabo was sent to the SOE "finishing school" at Beaulieu, Hampshire, where she learnt escape and evasion, uniform recognition, communications and cryptography, and had further training in weaponry. The final stage in training was parachute jumping, which was taught at Ringway Airport near Manchester. On her first attempt, Szabo badly sprained her ankle and was sent home for recuperation, spending some time in Bournemouth (it was this ankle that was to fail her later in France). She was able to take the parachuting course again and passed with a second class in February 1944. On 24 January 1944, Szabo made her will, witnessed by Vera Atkins and Major R. A. Bourne Paterson of SOE, naming her mother, Reine, as executrix and her daughter Tania as sole beneficiary.

 

In 2012 Max Hastings wrote that Szabo was "adored by the men and women of SOE both for her courage and endless infectious Cockney laughter", while Leo Marks remembered her as "A dark-haired slip of mischief....She had a Cockney accent which added to her impishness".

 

First mission

 

Due to the ankle injury, Szabo's first deployment was delayed, but it was during her second course at Ringway that she first met Philippe Liewer (d. c. 1948). While in London she also socialised with Bob Maloubier, so SOE decided she would work as a courier for Liewer's Salesman circuit. However, the mission was postponed when F Section received a signal from Harry Peulevé's (codename Jean) Author circuit warning that several members of the Rouen-Dieppe group had been arrested, including Claude Malraux (codename Cicero; brother of novelist Andre Malraux) and radio operator Isidore Newman. This extra time meant Szabo could be sent for a refresher course in wireless operation in London, and it was then that Leo Marks, SOE's cryptographer, seeing her struggle with her original French nursery rhyme, gave Szabo his own composition, The Life That I Have as her code poem.

 

On 5 April 1944, Szabo and Liewer were flown from RAF Tempsford in Bedfordshire in a US B-24 Liberator bomber and parachuted into German-occupied France, near Cherbourg. Her cover was that she was a commercial secretary named Corinne Reine Leroy (the latter two names being her mother's first and maiden names), who was born on 26 June 1921 (her real birthdate) in Bailleul, and who was a resident of Le Havre, which gave her reason to travel to the Restricted Zone of German occupation on the coast.

 

Under the code name "Louise", which happened to be her nickname (she was also nicknamed "La P'tite Anglaise", as she stood only 5'3" tall), she and SOE colleague Philippe Liewer (under the name "Major Charles Staunton"), organiser of the Salesman circuit, tried to assess the damage made by the German arrests, with Szabo travelling to Rouen, where Liewer could not go as a wanted man (both he and Maloubier were on wanted posters with their codenames), and to Dieppe to gather intelligence and carry out reconnaissance. It soon became clear that the circuit, which originally involved over 120 members (80 in Rouen and 40 on the coast) had been exposed beyond repair. Szabo returned to Paris to brief Liewer, and in the two days, before they were due to depart, she bought a dress for Tania, three frocks and a yellow sweater for herself, and perfume for her mother and herself. While the destruction of Salesman was a heavy blow to SOE, her reports on the local factories producing war materials for the Germans were important in establishing Allied bombing targets.

 

She returned to England by Lysander, piloted by Bob Large, DFC, of the RAF, on 30 April 1944, landing after a stressful flight in which the plane was hit by anti-aircraft fire over Chateaudun, and Szabo was thrown about the body of the plane. Large had turned off the intercom when attacked and did not turn it back on for the rest of the flight, so when the plane landed heavily due to a burst tyre, and he went to get Szabo out, she (thinking they had been shot down and not having seen her blond pilot) let Large have a volley of abuse in French, mistaking him for a German. When she realised what had really happened, he was rewarded with a kiss. Philippe Liewer returned at the same time in another Lysander. On 24 May 1944 Szabo was promoted to Ensign in the FANY.

 

After two aborted attempts, due to stormy weather on the night of 4/5 June and the abandonment of the intended landing ground on 5/6 June by the Resistance reception committee because of German patrols, Szabo and three colleagues were dropped by parachute from a USAAF Liberator flown from RAF Harrington in Northamptonshire onto a landing field near Sussac on the outskirts of Limoges early on 8 June 1944 (immediately following D-Day, and Tania Szabo's second birthday).

Szabo was part of a four-person team sent to operate in the department of Haute Vienne with the circuit codename 'Salesman II', led by her SOE commander Philippe Liewer (now codenamed Hamlet), whose rolled-up Rouen circuit had been 'Salesman', and including Second Lieutenant Jean-Claude Guiet (codenames Claude and Virgile) of the US Army as wireless operator (W/O), and Bob Maloubier (alias Robert 'Bob' Mortier; codenames Clothaire and Paco), Violette and Liewer's friend and comrade of SOE who was to act as military instructor to the local Maquis, and who had worked as weapons instructor and explosives officer for Liewer on the original Salesman I circuit. For this mission, Szabo's cover was that she was a Mme Villeret, the young widow of an antiques dealer from Nantes. It is possible Szabo had twisted an ankle on landing.

 

Upon arrival, she was sent to co-ordinate the activities of the local maquis in sabotaging communication lines during German attempts to stem the Normandy landings. When he arrived in the Limousin, Philippe Liewer found the local maquis to be poorly led and less prepared for action than he expected. To better co-ordinate Resistance activity against the Germans, he decided to send his courier, Szabo, as his liaison officer to the more active Maquis of Correze and the Dordogne, led by Jacques Poirier (SOE), head of the renamed Digger circuit, who had taken over from Harry Peulevé of the Author circuit, upon the latter's arrest. However, due to poor intelligence gathering by the local Resistance, Liewer was unaware that the 2nd SS Panzer Division was making its slow journey north to the Normandy battlefields through his area.

 

At 9.30 am on 10 June Szabo set off on her mission, not inconspicuously by bicycle as Liewer would have preferred, but in a Citroen driven by a young maquis section leader, Jacques Dufour ('Anastasie'). He had insisted upon using the car, even though the Germans had forbidden the use of cars by the French after D-Day, to drive her half of the 100 kilometres (62 mi) of her journey. At her request to Liewer, Szabo was armed with a Sten gun and eight magazines of ammunition. She was dressed in a light suit, flat-heeled shoes and no stockings. On their way across the sunlit fields of south-central France they picked up Jean Bariaud, a 26-year-old Resistance friend of Dufour, who was meant to accompany them on the return journey.

 

Their car raised the suspicions of German troops at an unexpected roadblock outside of Salon-la-Tour that had been set up to find Sturmbannführer Helmut Kämpfe, a battalion commander of the 2nd SS Panzer Division, who had been captured by the local resistance. When Dufour slowed the car, the unarmed Bariaud was able to escape and later warn the Salesman team of the arrest of his two companions.

 

According to Minney and Vickers, when they had stopped, Szabo and Dufour leapt from the car, he to the left and she to the right and the cover of a tree, as Dufour opened fire. A gun battle ensued during which a woman emerging from a barn was killed by the Germans. As armoured cars arrived at the scene, Szabo crossed the road to join Dufour, and they leapt a gate, before running across a field towards a small stream. They then ran up a hill towards some trees, when Szabo fell and severely twisted an ankle. She refused Dufour's offer of help, urging him to flee, and, dragging herself to the edge of the cornfield, she struggled to an apple tree. Standing behind the tree, she then provided Dufour with covering fire, allowing him to make his escape to hide in a friend's barn. Szabo fought the Germans for thirty minutes, killing a corporal, possibly more, and wounding some others. Eventually, she ran out of ammunition and was captured by two men who dragged her up the hill to a bridge over a railway. She was hot, dishevelled, and in pain. Szabo was questioned by a young officer whose armoured car had drawn up nearby. She was then taken away. Szabo's captors were most likely from the 1st Battalion of 3rd SS Panzer Grenadier Regiment Deutschland (Das Reich Division) whose commanding officer was the missing Sturmbannführer Kämpfe.

 

In R.J. Minney's biography, as above, she is described as putting up fierce resistance with her Sten gun, although German documents of the incident record no German injuries or casualties. A recent biography of Vera Atkins, the intelligence officer for the French section of SOE, notes that there was a great deal of confusion about what happened to Szabo—the story was revised four times—and states that the Sten gun incident "was probably a fabrication". Szabo's most recent biographer, Susan Ottaway, includes the battle in her book, as does Tania Szabo in hers, and Philip Vickers in his book on Das Reich. Authors Sarah Helm and Max Hastings express doubt about the story of the battle.

 

Violette Szabo was transferred to the custody of the Sicherheitsdienst (SD, the SS Security Service) in Limoges, where she was interrogated for four days by SS-Sturmbannführer Kowatch. She gave her name as "Vicky Taylor", the name she had intended to use if she needed to return to England via Spain. (Her reason for choosing this name is unknown, but it may have been a play on szabo being the Hungarian word for "tailor".) From there, she was moved to Fresnes Prison in Paris and brought to Gestapo headquarters at 84 Avenue Foch for interrogation and torture by the Sicherheitsdienst, who by now knew of her true identity and activities as an SOE agent.

 

With the Allies driving deep into France and George Patton's Third US Army heading towards Paris, the decision was taken by the Germans to send their most valuable French prisoners to Germany. On 8 August 1944, Szabo, shackled to SOE wireless operator Denise Bloch, was entrained with other male and female prisoners, including several SOE agents she knew, for transfer. At some point in the journey, probably outside Chalons-sur-Marne, an Allied air raid caused the guards to temporarily abandon the train, allowing Szabo and Bloch to get water from a lavatory to the caged male prisoners in the next carriage, the two women both providing inspiration and a morale boost to the suffering men. When the train reached Reims, the prisoners were taken by lorries to a large barn for two nights, where Szabo, still tied at the ankle to Bloch, who was in good spirits, was able to wash some of her clothes in a rudimentary fashion and to speak about her experiences to her SOE colleague Harry Peulevé.

 

From Reims, via Strasbourg, the prisoners went by train to Saarbrücken and a transit camp in the suburb of Neue Bremm, where hygiene facilities were nonexistent, and food was only indigestible bread crusts. After about ten days, Szabo and most of the other women were sent on to Ravensbrück concentration camp, where over 92,000 women were to die during the war. The exhausted women arrived at this notorious place of disease, starvation, and violence on 25 August 1944 after a terrible eighteen-day journey.

 

Although she endured hard labour and malnutrition, she helped save the life of Belgian resistance courier Hortense Daman, kept up the spirits of her fellow detainees, and, according to fellow inmate American Virginia d'Albert-Lake, constantly planned to escape. While at Ravensbrück, Szabo, Denise Bloch, Lilian Rolfe and Lake were among 1,000 French women sent to the Heinkel factory at the sub-camp of Torgau. Here they protested and refused to make munitions, and were forced to work in the vegetable cellar outside the camp walls and then to dig potatoes. The British women also made contact with French prisoners at a nearby POW camp who, being better fed, provided them with extra rations and offered to send messages to London with a transmitter they had built (there is no evidence they were successful).

 

After the Torgau incident, Szabo, Bloch, Rolfe and Lake were part of a group of around 250 prisoners sent back to Ravensbrück on 6 October, where Violette was put to work in the fabric store. In late October 1944, the protest women were transferred to a punishment camp at Königsberg, where they were forced into harsh physical labour felling trees, clearing rock-hard icy ground for the construction of an airfield and digging a trench for a narrow-gauge railway. Violette volunteered for tree-felling in the forest, where the trees gave some shelter from the bitter winds (Lilian and Denise were too ill to join her). In the bitter East Prussian winter of 1944, each day the women were forced to stand for Appell (roll-call) in the early morning for up to five hours before being sent to work, many of them freezing to death. Szabo was dressed only in the summer clothes she had been wearing when sent to Germany and the women received barely any food and slept in frozen barracks without blankets. According to Christine Le Scornet, a seventeen-year-old French girl whom Violette befriended, and Jeannie Rousseau, the co-leader of the Torgau revolt, she maintained her morale, was optimistic about liberation and continued to plan to escape. On 19 or 20 January 1945, the three British agents were recalled to Ravensbrück and sent first to the Strafblock, where they were possibly brutally assaulted and then to the punishment bunker, where they were kept in solitary confinement. The women were already in poor physical condition—Rolfe could barely walk—and the abuse finally weakened Szabo's morale.

 

Szabo was killed in the execution alley at Ravensbrück, aged 23, on or before 5 February 1945. She was shot in the back of the head while kneeling down, by SS-Rottenführer Schult in the presence of camp commandant Fritz Suhren (who pronounced the death penalty), camp overseer and deputy commandant Johann Schwarzhuber, SS-Scharführer Zappe, SS-Rottenführer Schenk (responsible for the crematorium), chief camp doctor Dr Trommer and dentist Dr Martin Hellinger, from the deposition of Schwarzhuber recorded by Vera Atkins 13 March 1946. Denise Bloch and Lilian Rolfe – neither of whom could walk and were carried on stretchers – were shot at the same time, by order of the highest Nazi authorities; the bodies were disposed of in the camp crematorium. Their clothes were not returned to the camp Effektenkammer (property store) as usually happened after executions.

 

Along with Szabo, Bloch, and Rolfe, one other member of the SOE was also executed at Ravensbrück: Cecily Lefort. She was killed in the gas chamber sometime in February 1945. Forty-one female Section F SOE agents served in France, some for more than two years, most for only a few months. Twenty-six of them survived World War II. Twelve were executed including Szabo, one was killed when her ship was sunk, two died of disease while imprisoned, and one died of natural causes. Female agents ranged in age from 20 to 53 years.

 

While there is some confusion about the precise circumstances of her execution, Szabo, along with her male and female colleagues who died in the concentration camps, is recorded by the War Office as having been killed in action. As an agent dressed in civilian clothes operating behind enemy lines, Szabo was regarded by the Germans as a franc-tireur not protected by the Geneva Convention and liable to summary execution. Though she was treated harshly at Ravensbrück, there is no conclusive proof that she was tortured or sexually assaulted by the Germans; her biographer, Susan Ottaway, thinks it unlikely.

---

www.youtube.com/watch?app=desktop&v=A8Zrq6FHmt0

 

John Powell photo.

 

An interesting scene here. I did buy a handful of BMW photos, but it was the general mix of cars that I liked here. However, it does seem like the BMW is a real oddity that Mr Powell was lucky to capture on film.

 

As I understand it, this model started life as a Glas 1700. When BMW took Glas over in 1966 they inherited this saloon which competed with their own 1800, so they stopped production in 1967 and shipped the tooling off to South Africa. They continued to make it there until the late 1970s, and it apparently sold well in Zimbabwe (then Rhodesia) where it was called Cheetah. In the mid '70s it was restyled with a more typical BMW front grille and double headlights arrangement. Good info here bimmerin.net/articles/bmw_2000SA_in_Rhodesia.php and here hooniverse.com/2010/08/24/rare-bmw-glas-so-rare-its-pract...

 

But how/why did one end up in the UK? Perhaps bought here by an ex-pat returning home? Thinking about, the M-reg on it probably just relates to when it was first registered here. Back then they didn't bother with issuing age-related plates, so it could be a bit older.

 

What I then realised in looking at the photo is that it appears to be taken outside a taxi office (in Cheltenham). Of course it could just so happen to be stopped there, but there's a sign or sticker in the window which matches that in the Volvo next to it, making me wonder if it was actually a taxi itself?

 

Sadly no trace of it on DVLA.

 

The Volvo registered KCJ656P to the right was a 1975 244DL Automatic. DVLA says it lasted only until 1982, backing up the thought that it was also a taxi? I suspect fuel economy on an automatic version must have been pretty dire.

 

A bit of a mixture parked-up in the background, and I think some of these were taxis too. Certainly the Marina and Datsun 200L appear to have signs on their roof (it was the latter car that got me particularly interested in this photo). Maybe the Vauxhall Victor FE was as well?

 

On the right there's a Volvo 144 or 145, something a bit lower and sportier behind that, an Austun FX4 taxi then in the background what appears to be a Bedford HA van with windows (Beagle?).

 

So much to ponder in just one photo!

 

Taken in Cheltenham on 25/11/79.

www.rollingstone.com/news/story/10432334/was_the_2004_ele...

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Was the 2004 Election Stolen?

Republicans prevented more than 350,000 voters in Ohio from casting ballots or having their votes counted -- enough to have put John Kerry in the White House. BY ROBERT F. KENNEDY JR.

 

Page 1 2 3 4

The complete article, with Web-only citations, follows. For more, see exclusive documents, sources, charts and commentary.

Like many Americans, I spent the evening of the 2004 election watching the returns on television and wondering how the exit polls, which predicted an overwhelming victory for John Kerry, had gotten it so wrong. By midnight, the official tallies showed a decisive lead for George Bush -- and the next day, lacking enough legal evidence to contest the results, Kerry conceded. Republicans derided anyone who expressed doubts about Bush's victory as nut cases in ''tinfoil hats,'' while the national media, with few exceptions, did little to question the validity of the election. The Washington Post immediately dismissed allegations of fraud as ''conspiracy theories,''(1) and The New York Times declared that ''there is no evidence of vote theft or errors on a large scale.''(2)

 

But despite the media blackout, indications continued to emerge that something deeply troubling had taken place in 2004. Nearly half of the 6 million American voters living abroad(3) never received their ballots -- or received them too late to vote(4) -- after the Pentagon unaccountably shut down a state-of-the-art Web site used to file overseas registrations.(5) A consulting firm called Sproul & Associates, which was hired by the Republican National Committee to register voters in six battleground states,(6) was discovered shredding Democratic registrations.(7) In New Mexico, which was decided by 5,988 votes,(8) malfunctioning machines mysteriously failed to properly register a presidential vote on more than 20,000 ballots.(9) Nationwide, according to the federal commission charged with implementing election reforms, as many as 1 million ballots were spoiled by faulty voting equipment -- roughly one for every 100 cast.(10)

 

The reports were especially disturbing in Ohio, the critical battleground state that clinched Bush's victory in the electoral college. Officials there purged tens of thousands of eligible voters from the rolls, neglected to process registration cards generated by Democratic voter drives, shortchanged Democratic precincts when they allocated voting machines and illegally derailed a recount that could have given Kerry the presidency. A precinct in an evangelical church in Miami County recorded an impossibly high turnout of ninety-eight percent, while a polling place in inner-city Cleveland recorded an equally impossible turnout of only seven percent. In Warren County, GOP election officials even invented a nonexistent terrorist threat to bar the media from monitoring the official vote count.(11)

 

Any election, of course, will have anomalies. America's voting system is a messy patchwork of polling rules run mostly by county and city officials. ''We didn't have one election for president in 2004,'' says Robert Pastor, who directs the Center for Democracy and Election Management at American University. ''We didn't have fifty elections. We actually had 13,000 elections run by 13,000 independent, quasi-sovereign counties and municipalities.''

 

But what is most anomalous about the irregularities in 2004 was their decidedly partisan bent: Almost without exception they hurt John Kerry and benefited George Bush. After carefully examining the evidence, I've become convinced that the president's party mounted a massive, coordinated campaign to subvert the will of the people in 2004. Across the country, Republican election officials and party stalwarts employed a wide range of illegal and unethical tactics to fix the election. A review of the available data reveals that in Ohio alone, at least 357,000 voters, the overwhelming majority of them Democratic, were prevented from casting ballots or did not have their votes counted in 2004(12) -- more than enough to shift the results of an election decided by 118,601 votes.(13) (See Ohio's Missing Votes) In what may be the single most astounding fact from the election, one in every four Ohio citizens who registered to vote in 2004 showed up at the polls only to discover that they were not listed on the rolls, thanks to GOP efforts to stem the unprecedented flood of Democrats eager to cast ballots.(14) And that doesn?t even take into account the troubling evidence of outright fraud, which indicates that upwards of 80,000 votes for Kerry were counted instead for Bush. That alone is a swing of more than 160,000 votes -- enough to have put John Kerry in the White House.(15)

 

''It was terrible,'' says Sen. Christopher Dodd, who helped craft reforms in 2002 that were supposed to prevent such electoral abuses. ''People waiting in line for twelve hours to cast their ballots, people not being allowed to vote because they were in the wrong precinct -- it was an outrage. In Ohio, you had a secretary of state who was determined to guarantee a Republican outcome. I'm terribly disheartened.''

 

Indeed, the extent of the GOP's effort to rig the vote shocked even the most experienced observers of American elections. ''Ohio was as dirty an election as America has ever seen,'' Lou Harris, the father of modern political polling, told me. ''You look at the turnout and votes in individual precincts, compared to the historic patterns in those counties, and you can tell where the discrepancies are. They stand out like a sore thumb.''

 

I. The Exit Polls

The first indication that something was gravely amiss on November 2nd, 2004, was the inexplicable discrepancies between exit polls and actual vote counts. Polls in thirty states weren't just off the mark -- they deviated to an extent that cannot be accounted for by their margin of error. In all but four states, the discrepancy favored President Bush.(16)

 

Over the past decades, exit polling has evolved into an exact science. Indeed, among pollsters and statisticians, such surveys are thought to be the most reliable. Unlike pre-election polls, in which voters are asked to predict their own behavior at some point in the future, exit polls ask voters leaving the voting booth to report an action they just executed. The results are exquisitely accurate: Exit polls in Germany, for example, have never missed the mark by more than three-tenths of one percent.(17) ''Exit polls are almost never wrong,'' Dick Morris, a political consultant who has worked for both Republicans and Democrats, noted after the 2004 vote. Such surveys are ''so reliable,'' he added, ''that they are used as guides to the relative honesty of elections in Third World countries.''(18) In 2003, vote tampering revealed by exit polling in the Republic of Georgia forced Eduard Shevardnadze to step down.(19) And in November 2004, exit polling in the Ukraine -- paid for by the Bush administration -- exposed election fraud that denied Viktor Yushchenko the presidency.(20)

 

But that same month, when exit polls revealed disturbing disparities in the U.S. election, the six media organizations that had commissioned the survey treated its very existence as an embarrassment. Instead of treating the discrepancies as a story meriting investigation, the networks scrubbed the offending results from their Web sites and substituted them with ''corrected'' numbers that had been weighted, retroactively, to match the official vote count. Rather than finding fault with the election results, the mainstream media preferred to dismiss the polls as flawed.(21)

 

''The people who ran the exit polling, and all those of us who were their clients, recognized that it was deeply flawed,'' says Tom Brokaw, who served as anchor for NBC News during the 2004 election. ''They were really screwed up -- the old models just don't work anymore. I would not go on the air with them again.''

 

In fact, the exit poll created for the 2004 election was designed to be the most reliable voter survey in history. The six news organizations -- running the ideological gamut from CBS to Fox News -- retained Edison Media Research and Mitofsky International,(22) whose principal, Warren Mitofsky, pioneered the exit poll for CBS in 1967(23) and is widely credited with assuring the credibility of Mexico's elections in 1994.(24) For its nationwide poll, Edison/Mitofsky selected a random subsample of 12,219 voters(25) -- approximately six times larger than those normally used in national polls(26) -- driving the margin of error down to approximately plus or minus one percent.(27)

 

On the evening of the vote, reporters at each of the major networks were briefed by pollsters at 7:54 p.m. Kerry, they were informed, had an insurmountable lead and would win by a rout: at least 309 electoral votes to Bush's 174, with fifty-five too close to call.(28) In London, Prime Minister Tony Blair went to bed contemplating his relationship with President-elect Kerry.(29)

 

As the last polling stations closed on the West Coast, exit polls showed Kerry ahead in ten of eleven battleground states -- including commanding leads in Ohio and Florida -- and winning by a million and a half votes nationally. The exit polls even showed Kerry breathing down Bush's neck in supposed GOP strongholds Virginia and North Carolina.(30) Against these numbers, the statistical likelihood of Bush winning was less than one in 450,000.(31) ''Either the exit polls, by and large, are completely wrong,'' a Fox News analyst declared, ''or George Bush loses.''(32)

 

But as the evening progressed, official tallies began to show implausible disparities -- as much as 9.5 percent -- with the exit polls. In ten of the eleven battleground states, the tallied margins departed from what the polls had predicted. In every case, the shift favored Bush. Based on exit polls, CNN had predicted Kerry defeating Bush in Ohio by a margin of 4.2 percentage points. Instead, election results showed Bush winning the state by 2.5 percent. Bush also tallied 6.5 percent more than the polls had predicted in Pennsylvania, and 4.9 percent more in Florida.(33)

 

According to Steven F. Freeman, a visiting scholar at the University of Pennsylvania who specializes in research methodology, the odds against all three of those shifts occurring in concert are one in 660,000. ''As much as we can say in sound science that something is impossible,'' he says, ''it is impossible that the discrepancies between predicted and actual vote count in the three critical battleground states of the 2004 election could have been due to chance or random error.'' (See The Tale of the Exit Polls)

 

Puzzled by the discrepancies, Freeman laboriously examined the raw polling data released by Edison/Mitofsky in January 2005. ''I'm not even political -- I despise the Democrats,'' he says. ''I'm a survey expert. I got into this because I was mystified about how the exit polls could have been so wrong.'' In his forthcoming book, Was the 2004 Presidential Election Stolen? Exit Polls, Election Fraud, and the Official Count, Freeman lays out a statistical analysis of the polls that is deeply troubling.

 

In its official postmortem report issued two months after the election, Edison/Mitofsky was unable to identify any flaw in its methodology -- so the pollsters, in essence, invented one for the electorate. According to Mitofsky, Bush partisans were simply disinclined to talk to exit pollsters on November 2nd(34) -- displaying a heretofore unknown and undocumented aversion that skewed the polls in Kerry's favor by a margin of 6.5 percent nationwide.(35)

 

Industry peers didn't buy it. John Zogby, one of the nation's leading pollsters, told me that Mitofsky's ''reluctant responder'' hypothesis is ''preposterous.''(36) Even Mitofsky, in his official report, underscored the hollowness of his theory: ''It is difficult to pinpoint precisely the reasons that, in general, Kerry voters were more likely to participate in the exit polls than Bush voters.''(37)

 

Now, thanks to careful examination of Mitofsky's own data by Freeman and a team of eight researchers, we can say conclusively that the theory is dead wrong. In fact it was Democrats, not Republicans, who were more disinclined to answer pollsters' questions on Election Day. In Bush strongholds, Freeman and the other researchers found that fifty-six percent of voters completed the exit survey -- compared to only fifty-three percent in Kerry strongholds.(38) ''The data presented to support the claim not only fails to substantiate it,'' observes Freeman, ''but actually contradicts it.''

 

What's more, Freeman found, the greatest disparities between exit polls and the official vote count came in Republican strongholds. In precincts where Bush received at least eighty percent of the vote, the exit polls were off by an average of ten percent. By contrast, in precincts where Kerry dominated by eighty percent or more, the exit polls were accurate to within three tenths of one percent -- a pattern that suggests Republican election officials stuffed the ballot box in Bush country.(39)

 

''When you look at the numbers, there is a tremendous amount of data that supports the supposition of election fraud,'' concludes Freeman. ''The discrepancies are higher in battleground states, higher where there were Republican governors, higher in states with greater proportions of African-American communities and higher in states where there were the most Election Day complaints. All these are strong indicators of fraud -- and yet this supposition has been utterly ignored by the press and, oddly, by the Democratic Party.''

 

The evidence is especially strong in Ohio. In January, a team of mathematicians from the National Election Data Archive, a nonpartisan watchdog group, compared the state's exit polls against the certified vote count in each of the forty-nine precincts polled by Edison/Mitofsky. In twenty-two of those precincts -- nearly half of those polled -- they discovered results that differed widely from the official tally. Once again -- against all odds -- the widespread discrepancies were stacked massively in Bush's favor: In only two of the suspect twenty-two precincts did the disparity benefit Kerry. The wildest discrepancy came from the precinct Mitofsky numbered ''27,'' in order to protect the anonymity of those surveyed. According to the exit poll, Kerry should have received sixty-seven percent of the vote in this precinct. Yet the certified tally gave him only thirty-eight percent. The statistical odds against such a variance are just shy of one in 3 billion.(40)

 

Such results, according to the archive, provide ''virtually irrefutable evidence of vote miscount.'' The discrepancies, the experts add, ''are consistent with the hypothesis that Kerry would have won Ohio's electoral votes if Ohio's official vote counts had accurately reflected voter intent.''(41) According to Ron Baiman, vice president of the archive and a public policy analyst at Loyola University in Chicago, ''No rigorous statistical explanation'' can explain the ''completely nonrandom'' disparities that almost uniformly benefited Bush. The final results, he adds, are ''completely consistent with election fraud -- specifically vote shifting.''

 

II. The Partisan Official

No state was more important in the 2004 election than Ohio. The state has been key to every Republican presidential victory since Abraham Lincoln's, and both parties overwhelmed the state with television ads, field organizers and volunteers in an effort to register new voters and energize old ones. Bush and Kerry traveled to Ohio a total of forty-nine times during the campaign -- more than to any other state.(42)

 

But in the battle for Ohio, Republicans had a distinct advantage: The man in charge of the counting was Kenneth Blackwell, the co-chair of President Bush's re-election committee.(43) As Ohio's secretary of state, Blackwell had broad powers to interpret and implement state and federal election laws -- setting standards for everything from the processing of voter registration to the conduct of official recounts.(44) And as Bush's re-election chair in Ohio, he had a powerful motivation to rig the rules for his candidate. Blackwell, in fact, served as the ''principal electoral system adviser'' for Bush during the 2000 recount in Florida,(45) where he witnessed firsthand the success of his counterpart Katherine Harris, the Florida secretary of state who co-chaired Bush's campaign there.(46)

 

Blackwell -- now the Republican candidate for governor of Ohio(47) -- is well-known in the state as a fierce partisan eager to rise in the GOP. An outspoken leader of Ohio's right-wing fundamentalists, he opposes abortion even in cases of rape(48) and was the chief cheerleader for the anti-gay-marriage amendment that Republicans employed to spark turnout in rural counties(49). He has openly denounced Kerry as ''an unapologetic liberal Democrat,''(50) and during the 2004 election he used his official powers to disenfranchise hundreds of thousands of Ohio citizens in Democratic strongholds. In a ruling issued two weeks before the election, a federal judge rebuked Blackwell for seeking to ''accomplish the same result in Ohio in 2004 that occurred in Florida in 2000.''(51)

 

''The secretary of state is supposed to administer elections -- not throw them,'' says Rep. Dennis Kucinich, a Democrat from Cleveland who has dealt with Blackwell for years. ''The election in Ohio in 2004 stands out as an example of how, under color of law, a state election official can frustrate the exercise of the right to vote.''

 

The most extensive investigation of what happened in Ohio was conducted by Rep. John Conyers, the ranking Democrat on the House Judiciary Committee.(52) Frustrated by his party's failure to follow up on the widespread evidence of voter intimidation and fraud, Conyers and the committee's minority staff held public hearings in Ohio, where they looked into more than 50,000 complaints from voters.(53) In January 2005, Conyers issued a detailed report that outlined ''massive and unprecedented voter irregularities and anomalies in Ohio.'' The problems, the report concludes, were ''caused by intentional misconduct and illegal behavior, much of it involving Secretary of State J. Kenneth Blackwell.''(54)

 

''Blackwell made Katherine Harris look like a cupcake,'' Conyers told me. ''He saw his role as limiting the participation of Democratic voters. We had hearings in Columbus for two days. We could have stayed two weeks, the level of fury was so high. Thousands of people wanted to testify. Nothing like this had ever happened to them before.''

 

When ROLLING STONE confronted Blackwell about his overtly partisan attempts to subvert the election, he dismissed any such claim as ''silly on its face.'' Ohio, he insisted in a telephone interview, set a ''gold standard'' for electoral fairness. In fact, his campaign to subvert the will of the voters had begun long before Election Day. Instead of welcoming the avalanche of citizen involvement sparked by the campaign, Blackwell permitted election officials in Cleveland, Cincinnati and Toledo to conduct a massive purge of their voter rolls, summarily expunging the names of more than 300,000 voters who had failed to cast ballots in the previous two national elections.(55) In Cleveland, which went five-to-one for Kerry, nearly one in four voters were wiped from the rolls between 2000 and 2004.(56)

 

There were legitimate reasons to clean up voting lists: Many of the names undoubtedly belonged to people who had moved or died. But thousands more were duly registered voters who were deprived of their constitutional right to vote -- often without any notification -- simply because they had decided not to go to the polls in prior elections.(57) In Cleveland's precinct 6C, where more than half the voters on the rolls were deleted,(58) turnout was only 7.1 percent(59) -- the lowest in the state.

 

According to the Conyers report, improper purging ''likely disenfranchised tens of thousands of voters statewide.''(60) If only one in ten of the 300,000 purged voters showed up on Election Day -- a conservative estimate, according to election scholars -- that is 30,000 citizens who were unfairly denied the opportunity to cast ballots.

 

III. The Strike Force

In the months leading up to the election, Ohio was in the midst of the biggest registration drive in its history. Tens of thousands of volunteers and paid political operatives from both parties canvassed the state, racing to register new voters in advance of the October 4th deadline. To those on the ground, it was clear that Democrats were outpacing their Republican counterparts: A New York Times analysis before the election found that new registrations in traditional Democratic strongholds were up 250 percent, compared to only twenty-five percent in Republican-leaning counties.(61) ''The Democrats have been beating the pants off us in the air and on the ground,'' a GOP county official in Columbus confessed to The Washington Times.(62)

 

To stem the tide of new registrations, the Republican National Committee and the Ohio Republican Party attempted to knock tens of thousands of predominantly minority and urban voters off the rolls through illegal mailings known in electioneering jargon as ''caging.'' During the Eighties, after the GOP used such mailings to disenfranchise nearly 76,000 black voters in New Jersey and Louisiana, it was forced to sign two separate court orders agreeing to abstain from caging.(63) But during the summer of 2004, the GOP targeted minority voters in Ohio by zip code, sending registered letters to more than 200,000 newly registered voters(64) in sixty-five counties.(65) On October 22nd, a mere eleven days before the election, Ohio Republican Party Chairman Bob Bennett -- who also chairs the board of elections in Cuyahoga County -- sought to invalidate the registrations of 35,427 voters who had refused to sign for the letters or whose mail came back as undeliverable.(66) Almost half of the challenged voters were from Democratic strongholds in and around Cleveland.(67)

 

There were plenty of valid reasons that voters had failed to respond to the mailings: The list included people who couldn't sign for the letters because they were serving in the U.S. military, college students whose school and home addresses differed,(68) and more than 1,000 homeless people who had no permanent mailing address.(69) But the undeliverable mail, Bennett claimed, proved the new registrations were fraudulent.

 

By law, each voter was supposed to receive a hearing before being stricken from the rolls.(70) Instead, in the week before the election, kangaroo courts were rapidly set up across the state at Blackwell's direction that would inevitably disenfranchise thousands of voters at a time(71) -- a process that one Democratic election official in Toledo likened to an ''inquisition.''(72) Not that anyone was given a chance to actually show up and defend their right to vote: Notices to challenged voters were not only sent out impossibly late in the process, they were mailed to the very addresses that the Republicans contended were faulty.(73) Adding to the atmosphere of intimidation, sheriff's detectives in Sandusky County were dispatched to the homes of challenged voters to investigate the GOP's claims of fraud.(74)

FOR IMMEDIATE RELEASE

MANIFESTO GLEITZEIT 2015

BY STELLY RIESLING

Featured below is another original art work of mine in homage to THE PIONEER OF INVISIBLE ART — PAUL JAISINI. Forget all the copycats that came after him — Master Paul Jaisini was the *FIRST* of a totally original concept and the *BEST*. My favorite thing about him is that he’s a voice, not an echo, which is quite rare.

DISCLAIMER: This is for anyone who is a hater OR wishes to better understand me, what I’m all about, so you can decide whether I’m weird or normal enough for you — a kind of very loose manifesto, rushed and unrevised, full of raw uncut emotion that I don’t like to be evident in my writing as lately I prefer a more professional, formal style, so we can consider this a rough draft of the more polished writing to come when I have extra time. I might return to this text later and clean it up or break it into separate parts. Right now it’s a long-winded hot mess, so if you manage to make any sense of it, BIG PROPS TO YOU. lol …and if you manage to read it ALL, you have my solemn respect!!! in a day when reading has been reduced to just catchy headliners and short captions of images once in a while. The consequence of this one-liner internet culture is non-linear, tunnel thinking, which is baaaaaad.

There lives among us a most enigmatic and charismatic creature named Paul Jaisini who led me into the wonderful world of art, not personally, but through descriptions of his artworks in essays written and published online by his friend, which painted the most fascinating images in my mind. Early on as a kiddo, I experimented with photography, simple point and shoot whatever looked attractive to me. Digital manipulation of my photographs with computer software followed… and somehow I learned useful drawing techniques along the way to combine existing elements with nonexistent ones, which allowed me to elevate the context for my ideas. Later, I started creating my own digital art from scratch for my friends and family as a favorite pastime. They would shower me with praise and repeatedly encouraged me to share my “different” vision with the rest of the world… it took a while and wasn’t easy to overcome the insecurity of not being good enough along with a gripping fear of being harshly criticized, but one day I woman-ed up and started publishing my work on the web, reminding myself that my livelihood didn’t depend on a positive reception.

Paul Jaisini’s role in all this has been to not disgrace myself, even if what I do is just a hobby. And I would never do him and other genius artists the disservice of calling myself a professional because I know I’ll never be as good as any of the GIANTS of pre-modern history. Be the best or be nothing, no middle ground.

People’s jealousy in the past, future and present over my obsessive love of Paul Jaisini, which they are well aware is purely plutonic, has caused them to despise the man and has made many relationships/friendships impossible for me. I refuse to have such people in my life because by harboring any negativity towards Paul, they unknowingly feel that way about me and express it to me. It’s their own problem for not realizing this. Paul’s new art movement, Gleitzeit, shaped me into the allegedly awesome girl I am today, giving my art more edge, more “sexy” because it refined my vision of the world and propelled me to attain the skills necessary to not dishonor my family name through tenacious pursuit of perfection. Since the beginning of my life, I attempted to depict what I saw in visual, musical and literal forms, but continuously failed without adequate training and determination. Paul Jaisini’s Gleitzeit was the answer to my prayers. Who I am today I owe mostly to him and his selfless ideals of the artverse that I’ve given unconditional loyalty to (he has this cool ability for hyper-vision to see whole universes, not itty bitty worlds, hence I call it an artverse instead of art world, with him in mind). So again, anyone who hates Paul Jaisini hates ME because, regardless of what he means to you, he is the most important person in my life for making me ME. The way a famous actor, dancer or singer inspires others to act, dance or sing, Paul inspired me to become a better artist, better writer, better everything. More people would understand if he was a household name because they’re wired to in society. But we’re inspiring each other all the time in our own little communities without being famous, so if someone has the ability to change even ONE person’s life immensely with creativity, it is a massive achievement. And passionate folks like myself are compelled to scream it from the cyber rooftops. So here I am. It’s whatever.

Furthermore, I’d like to address here a few pressing matters in light of some recent drama brought on by both strangers and former friends. To start, I never judge the passions, interests or likes of others, which are often in my face all over the place, so likewise they have no right to judge any of mine. It is quite unfortunate and frustrating how very little understanding and education the majority of people have or want to have. Their logic is as primitive as a chipmunk when it comes to promotion of fine art on the web: “spamming, advertising, report!” It’s their own problem that they fail to understand what it’s about due to the distorted lens through which they see the world or inability to think for themselves; an inherent lack of perception or inquisitiveness. Well, guess what? Every single image, every animation, every video, every post dedicated to Mr. Paul Jaisini and “Gleitziet” (to elaborate: a revolutionary new art movement Paul founded with his partner in crime and personal friend, EYKG, who discovered him and believed in him more than anyone) has an important purpose. Every one of those things you run across is a piece of a puzzle, a move in a game, an inch down a rabbit hole; the deeper you go, the more interesting it gets; the more levels you pass, the more clues unfold, the greater the suspense and nearer the conclusion (yet further). You earn awesome rewards like enlightenment, spiritual revelations, truths, knowledge, wisdom and the most profound reward of all: the drive to improve yourself to the absolute maximum, so an unending, unshakable drive. People often make a wrong turn in this cyber game and go back a few levels or get stuck. Those that keep on pushing, however, will come to find the effort has been worth it. And what awaits you in the end of it all? The greatest challenge to beating the game: YOUR OWN MIND. You will be forced to let go of every belief you held before you had reached the last level, to completely alter your mindset and perception of the world, of life, of yourself. But by the time you’ve gotten to that point, it will be as easy as falling off a cliff! (It is a kind of suicide after all — death and rebirth of spirit.)

Paul Jaisini does NOT, *I repeat* does NOT use mystery and obscurity to his advantage as a clever marketing ploy, no, he’s too next level for that with a consciousness so rich, he should wear a radioactive warning sign (he’ll melt your brain, best wear a tinfoil hat in his presence as I certainly would.) The statement he makes is loud and clear, hidden in plain site for those who take the time to connect the dots and have enough curiosity to fuel their journey into unknown territory (an open mind and flexible perception helps a lot). Actually, anyone with an IQ above 90 is sure to figure it out sooner or later. Hint: You don’t have to SEE an extraordinary thing with your eyes to know it exists, to understand it and realize its greatness — you can only feel it in your bone marrow, your spinal fluid, your heart and soul. The moment you do figure it out, as the skeleton key of the human soul, it will unlock the greatness and massive potential buried deep within, changing the doomed direction humanity is undoubtedly headed. I don’t speak in riddles, I speak in a clear direct way that intelligent humans will understand, so I’m counting on them.

GIG is an international group of artists and writers that support Paul Jaisini’s Gleitzeit. We started off as an unofficial fan club of Jaisini in 1996, comprised of only 6 individuals spanning 3 countries, and eventually escalated in status to an official fan group across the entire globe. A decade later it had grown to hundreds of fans. Nearly another decade later, there are thousands. Let’s not leave out another delightful group of vicious haters that have been around for nearly as long as us since the late 90s and have also grown in impressive numbers. Now, for the record (and please write this one down because I’m sick of repeating myself), Paul Jaisini himself is not part of our group and has nothing to do with us. He loves and hates us equally for butchering his name and making him appear as a narcissistic nut-job in his own words. He casts hexes on us for the blinding flash we layer over the art that members contribute to GIG — “disgusting-police-lights, seizure-inducing-laser-lightshow, bourgeois-myspace-effects retarded-raver shit” in Paul’s words. Ahh, how we love his sweet-talking us. In a desperate attempt to please him, those among us who make the art and animations have spent countless hours and sleepless nights trying to solve a crazy-complex quantum-physics type of equation = how to not create tacky or tasteless content. He does fancy some of it now, we got better, that’s something! In the reason stated below, our mission just got out of hand at some point.

What little is known about Paul Jaisini, even in all this time, is he’s a horrible perfectionist who slaughtered hundreds of innocent babies — I mean — artworks of remarkable beauty created by his own right hand (mostly paintings, some watercolors and drawings). He’s a fierce recluse who wants nothing to do with anyone or anything in life. But those few of us who know of an incredible talent he possesses (one could go as far as calling it a superpower), could not allow him to live his life without the recognition he FUCKING DESERVES more than any artist out there living today and, arguably, yesterday. We use whatever means necessary to reach more people, lots of flash and razzle-dazzle to lure them into our sinister trap of a higher awareness. Mwahaha! The visual boom you’ve witnessed in both cyber and real worlds, that is GIG’s doing — two damn decades of spreading an art virus — IVA. InVisibleArtitis… or a drug as in Intravenous Art. It’s whatever you want it to be, honey.

Our Gleitzeit International Group (GIG) started off innocently enough and gradually spiraled out of control to fight the haters, annoying the hell out of them as much as humanly possible. They don’t like what we do? WE DO MORE AND MORE OF IT. But never without purpose, without a carefully executed plan in mind collectively. If we have to tolerate an endless tidal wave of everyone’s vomit — e.g., idiotic memes and comics; dumbed-down one-liner quotes; selfies; so-called “art photography” passed through one-click app filters; mindless scribbles or random splatters by regular folks who have the nerve to call themselves serious/pro artists; primitive images of pets, babies, landscapes, random objects, etc… then people sure as shit are gonna tolerate what we put out, our animated and non-animated visual art designed for our beloved master, Paul Jaisini, who has shown us the light, the right path to follow, taught us great things and done so much for us — and so in our appreciation of him, we stamp his name on everything, for the sacrifices he has made in the name of art, to save our art verse, he’s a goddamn hero. There’s a book being written in his dedication where little will be left to the imagination about him.

If Paul Jaisini was as famous as Koons or Hirst, for example, people would know it’s not him posting stuff online with his name on it but fans creating fanart like myself among others. But noooooo, such a thing is unfathomable to most people - the promotion of another artist. Like, what’s in it for us? Uhh, nothing?? This is all NON-PROFIT bitches, the way art should be. It’s a passion FIRST, a commodity/commercial product/marketable item LAST and least. Its been that way for us since the early 90s to this day. Not a single member of GIG has sold an art work (neither has Paul Jaisini who’s a true professional) and we want to keep it that way. We do it for reasons far beyond ego. So advertising? Really? How the hell do you advertise or sell thin air, you know, invisible paintings, invisible anything? Ha ha, very funny indeed. The idea here is so simple, your neighbor’s dog can grasp it. Our motives: replace fast food for the mind with fine art, actual fine art. You know, creativity? Conscious thought? Talent? Skill? Knowledge? All that good stuff rolled into one to bring viewers more than a momentary ooohand aaahh reaction. Replace the recycled images ad nauseum; repetitious, worn-out ideas; disposable, gimmicky, money-driven fast art for simpletons. Stick with the highest of ideals and save the whole bloody planet.

Fine art is often confused with craft-making. This often creates bad blood between classically trained artists who put out paintings that leave a lasting impression, that make strong conversation pieces, that are thought-provoking and deep… and trained craftspeople whose skills are adequate to create decorative pieces for homely environments — landscapes, still lifes, animals, pretty fairies, common things of fantasy, and other simplicity. Skills alone are not enough for high art, you need a vision, a purpose, the ability to tell a story with every stroke of your brush that will both fascinate and terrify the viewers, arousing powerful emotions, illuminating. I have yet to see a visible painting in my generation that does anything at all for me, other than evoke sheer outrage and disgust. What a terrible waste of space and valuable resources it all is.

Paul Jaisini leads, we follow. He wishes to remain unknown - so do most of us. I’m next in line, slipping into recluse mode, no longer wanting to attach my face, my human image to my art stuff. I wish to be a nameless, faceless artist as well, invisible like P.J., and in his footsteps I too have destroyed thousands of my own artistic photography and digital art made with tedious, labor-intensive handwork. The whole point of this destruction is achieving the finest results possible by letting go of the imperfect, purging it on a regular basis, to make way for the perfect. I love what I do so it doesn’t matter, I know I’ll keep producing as much as I’m discarding, keeping the balance. Hoarding is an enemy of progress, especially the digital kind as there’s absolutely no limit to it. It’s like carrying a load of bricks on your back you’ll never use or need.

The watering down of creativity that digital pack ratting has caused as observed over the years is most tragic. For the creative individual, relying on terabytes of stock photos or OSFAP as I call them (Once Size Fits All Photos) instead of making your own as you used to when you had no choice, being 100% original, is a splinter in the conscience. It’s not evil to use stock of, say, things you don’t have access to (outer space, deep sea, Antarctica, etc.), but many digital artists I know today can’t take their own shot of a pencil ‘cause they “ain’t got no time for that!” How did they have time before? Did time get so compressed in only a decade?

Ohhhhh, and the edits, textures, filters, plug-ins and what-have-you available out there to everyone and their cats… are responsible for the tidal wave of rubbish that eclipses the magnificent light of the real talents.

I can tell you with utmost sincerity there is no better feeling on earth than knowing your creation is ALL yours, every pixel and dot, from the first to the last. It’s not always possible to make it so, but definitely the most rewarding endeavor. I’m most proud of myself when I can accomplish that.

Back to Paul Jaisini, from the start there have been a number of theories floating around on what his real story is. One of my own theories is that he stands for the unknowns of the world who can’t get representation, can’t get exhibited at a decent gallery because highly gifted/trained artists aren’t good enough - those kind of establishments prefer bananas, balloon dogs, feces, gigantic dicks/cunts, and all kinds of what-the-fucks…

So again, you don’t get the Paul Jaisini thing? That’s your problem. Don’t hate others for getting it. People are good, very good, at making baseless assumptions and impulsively spewing it as truth. They criticize and judge as if they’re high authorities on the subject yet they clearly lack education in fine art or art history and possess little to no talent or skill to back up their bullshit. My little “credibility radar” never fails. When they say I know this or I know that, I reply don’t say “I know” or state things as fact as a general rule of thumb - instead say “I assume/believe” and state the reasons you feel thus to appear less immature, especially about a controversial topic like invisible art. I have zero respect or tolerance for egomaniacs who think they know it all and act accordingly like arrogant pricks. Who can stand those, right? Once again, a good example would be: I, Stelly Riesling, believe everything I’ve written in this little manifesto to be correct based on personal experience and observation from multiple angles, thorough research and sufficient data collected from verifiable sources (and don’t go copying-pasting my own words back at me, be original). Just because you or I say so doesn’t make it so. Just because you or me think or believe so doesn’t make it true or right. I only ask that my opinions are regarded respectfully and whoever opposes them does so in a mature, civilized manner. We should only be entitled to opinions that don’t bring out the worst in us.

I don’t normally take such a position, but the time has come to stand up for what I believe in! It’s quite amusing and comical how haters think calling me names, attacking me or my interests or members of the project I’m part of for years is going to change something. It only makes more evident the importance of what I’m doing so I push on harder still.

Words of advise to those who can identify with me, with my frustrations over people’s reluctance to change their miserable ways, with our declining art world…

DON’T waste time on people who sweat the small stuff, whose actions are consistently inconsistent with their words. DO waste time on people who always keep their eye on the ball—the bigger picture of life.

Paul Jaisini’s invisible paintings are more than hype, more than your lame assumptions. Here’s one I got that’s pure gold: a cult! It started out as A JOKE OF MINE that was used against me. I told a then-good friend that he should come join our little “art cult” in a clearly lighthearted manner, and later he takes this idea I put in his head first and accuses me of being in an (imaginary) cult—the jokes on me eh?. But wait, aren’t cults religious? Our group consists of people around the world of different faiths (or none at all) so how could that ever work? If religion was about making fine (non-pop) art mainstream and bringing awesome, fresh, futuristic concepts to the collective consciousness, the world would not be so fucked up today because talent, creativity, originality and individuality would be the main focus, not superficial poppycock; those things would be praised and encouraged and supported in society by all institutions, not demonized and stigmatized.

Here is one thing I CAN state as solid fact: only one person close to Paul Jaisini knows the TRUE story, or at least some of it: EYKG. Everything else that has ever been said about him is myth, legend, gossip, speculation, the worst of which is said by jealous non-artists (wannabes, clones, posers, hang-ons, unoriginal ppl in general) and anti-artists (religious psychos, squares, losers and -duh- stupid ppl). Sadly, people are unable to see the bigger picture by letting their egos run their lives or repeating after others as parrots.

Commercial art, consumerism, and ignorance of the masses truly makes me want to curl up in a ball, not eat or drink or move until I die, just die in my sleep while dreaming of a better world, a world where real fine artists rule it with real fine art as they used to and life is beautiful once again….

Well I hope that settled THAT for now, or perhaps inadvertently made matters worse. I hope I didn’t sound too pissed from all these issues that keep popping up like penises on ChatRoulette… just got to me already! Can you tell? I had to put my foot down, stomp ‘em all!

To be continued, still lots more ignorance and pettiness to battle… Till then peace out my bambini. MWAH!

  

FOR IMMEDIATE RELEASE

MANIFESTO GLEITZEIT 2015

PROLOGUE

Paul Jaisini was like a messiah, as you wish, who saw/understood the impending end and complete degeneration of Fine art or Art become and investment nothing more than that. He predicted the bubble pops art when everybody would eventually become an artist, including dogs cats and horses, because they as kids followed the main rule: express yourself without skills or knowledge or any aesthetic concerns. J. Pollack started pouring paints onto canvases; Julian Schnabel, former cab driver from NY, suddenly decided he could do better than what he saw displayed in galleries, so he started gluing dishes on canvases; A.Warhol, an industrial artist who made commercial silk-screen for the factories he worked in, started to exhibit "Campbell's soup" used for commercial adds... and later the thing that made him an "American Idol": by copying and pasting Hollywood celebrities (same type of posters he made before for movie theaters).

When Paul Jaisini stood out against the Me culture in the US by burning all of his own 120 brilliant paintings (according to the then-new director of Fort Worth MoMa Museum, who offered hin an exhibition of his art in 1992, and later the Metropolitan Museum curator, Phillippe de Montebello, in 1994).Paul probably assumed all fellow true fine artists would join him or stand by him against corruption of the art world.

And after 20 years of his stand-off...the time has finally come today. Many artists and humanitarians around the world took a place beside him. His invisible Paintings became a synonym for the future reincarnation of fine art and long lost harmony. The establishment is in panic! The "moneybags" (as Paul Jaisini named them) are in panic, because they invested BILLIONS of dollars in real crap made by

craftsmen. Now they realize that the reputation of American legends of expressionism was nothing but a copy of Russian avant-garde" Kazimir Malevich, Vasiliy Kandinsky and tens of others from France and Germany.. US tycoon investors were spending billions on "Me more original, than you". "Artist Shit" is a 1061 artwork by the Italian artist Piero Manzoni. The work consists of 90 tin cans, filled with feces. A tin can was sold for £124,000, 180,000 at Sothebys, 2007.

EPILOGUE

Before I resume promoting and admiring a very important art persona on today's international art arena, I'd like to clear up some BIG questions; people ask continuously and subconsciously, directly & indirectly: "Why does the name Paul Jaisini, flood the Internet in such "obnoxious" quantities that it's started suppressing some other activities that my friends might share with the rest of the Internet's Ego Me only Me www society? I can't just answer this... so I'll try to explain why I'm writing this: Jaisini's followers keep posting art and info about,

He IMHO the only hope in quickly decomposing visual fine art. "Paul Jaisini realized many years ago, in 1994, when he declared (at that time to himself only) the start of a New era, a New vision, that he is trying to redirect from the rat race, started by an establishment in post-war New York, long before the Internet culture.

Sub related information: Adolf Gottlieb, Mart Rothko, etc (after visiting Paris France in 1933):

"We must forget analytical art, we must express ourselves, as a 5 year old child would, without a developed consciousness. Forget about results - do what you feel, EXPRESS yourself with your own unique style"

With this statement Mark Rothko starts to teach his students, degeneration of fine art begins, and the generation of war of styles took a start signal of the material race, greatly rewarded by establishment "individual" - eccentric craftsmen - show business clowns.

Sub related Information: In the summer of 1936, Adolf Gottlieb painted more than 800 paintings, which was 20X more than he created in his whole art career as a painter, starting from the time of Gottlieb becomes a founding member of "The Ten" group in NYC "Group of Ten" was a very peculiar, enigmatic group... Based on a religious point of view;(where a human figure was prohibited from being created)

GLOSSARY

IN 1997, Paul Jaisini's best friend Ellen Y.K.Gottlieb started a cyber campaign by promoting on a very young Internet, back then, Paul Jaisini's burned paintings as Invisible Paintings, visible only through poetic essays. She and a handful of people saw his originals and were devastated that nobody could ever see them again. "We, his fans, believe that someday Paul will recreate his 120 burned paintings if he has any decency and moral obligation to his fans, who have dedicated decades to make it happen, for their Phoenix to rise from the ashes and the whole world will witness that all these years we spent to get him back to re-paint the Visuals again were not in vain," - said E.Y.K.Gottlieb in 2014 during the 20th anniversary celebration of Invisible Paintings to GIGroup in NYCity. So now, hopefully, this clears up why I and others do what we do - our "cyber terrorism" of good art, dedicated to Paul Jaisini's return, which is & and was our mission & our goal. We post good art to fight "troll art" which is worthless pics, after being passed through 1-click filters of free web apps. We are, in fact, against this www pops pollution, done with "bubble art" by the out of control masses with 5 billon pics a day: Pics of cats, memes, quotes,national geographic sunsets and waterfalls, not counting their own daily "selfies: and whatever self-indulging Me-ego-Me affairs, sponsored happily by photo gadget companies like Canon, Nikon, Sony...who churn out higher quality madness tools at lower cost.

This way Government taking away attention from the real world crisis of lowest morality & economical devastation. The masses are too easily re-engineered/manipulated by the Establishment PopsStyle delivered to them by pop music and Hollywood "super" stars. In 1992 Paul Jaisini's Gleitzeit theory predict such a massive, pops self-entertain madness, following technologicalexplosion, but not in illusive scales.

Uber Aless @2015 NYC USA

NOTE Date's numbers and events can be slightly inaccurate.

#gleitzeit #paul-jaisini #invisible #painting #art #futurism #art-news,

 

Wishing again that my taxonomy skills were better than nonexistent. Pretty though, along the neighborhood trails.

 

Poltu Quatu is a hamlet born in the late 80's. It owes its name to the Sardinian name, which means "hidden port". It is not well known and covers a very characteristic creek: It is hidden from the gaze of unskilleds through the dense vegetation surrounding the coast In fact, the port was built in a wonderful natural fjord. It is located along the road that leads from Porto Cervo to Baja Sardinia. Its population is practically nonexistent, but during the summer it becomes a very active center especially for luxury vacations. Many VIPs flock to the harbor during the summer season.

“APOLLO 16 LANDING SITE-----An artist’s concept illustrating an eastward view of the Apollo 16 Descartes landing site. The white overlay indicates the scheduled traverses by the Apollo 16 astronauts in the Lunar Roving Vehicle. The Roman numerals are the EVAs: and the Arabic numbers are the station stops along the traverses. The Descartes landing area is generally west of the Sea of Nectar and southwest of the Sea of Tranquility. The LRV traverses extend northward to the Smokey Mountains near Station 14 and southward to Stone Mountain near Station 4. Astronauts John W. Young, commander, and Charles M. Duke Jr., lunar module pilot, will descend in the Lunar Module to the lunar surface to explore the Descartes landing site, while Astronaut Thomas K. Mattingly II, command module pilot, will remain with the Command and Service Modules in lunar orbit.”

 

Let’s face it, out of the Apollo “J” missions, the Apollo 16 Descartes Highlands landing site was by far the least visually interesting. Other than ‘House Rock’ & North Ray crater, it was pretty dull.

Did that contribute to this being basically nonexistent online? Although it is buried & languishing at the following decremented long-defunct website. Although grateful, I’m appalled that, pathetically, THIS is still the only place I find low-resolution images, with their ID numbers. In fact, multiple nice images ‘exist’ within this untended gravesite. Sad:

 

science.ksc.nasa.gov/mirrors/images/images/pao/AS16/10075...

 

science.ksc.nasa.gov/mirrors/images/images/pao/AS16/10075...

 

Although I assume there was one, I don’t even remember the Tang poster for this landing site…or that I even had it…whereas I clearly recall having Apollo 15 & 17. That’s pretty bad…I feel sorta guilty.

 

Very nice artwork by NASA artist Jerry L. Elmore, responsible for the Apollo 15 & 17 depictions as well.

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!

 

Black on flat water past the jonquil lawns

Riding, the black swan draws

A private chaos warbling in its wake,

Assuming, like a fourth dimension, splendor

That calls the child with white ideas of swans

Nearer to that green lake

Where every paradox means wonder.

 

From The Black Swan by James Merrill (1926 - 1995)

 

Best Viewed Large On Black

 

The term black swan was a Latin expression — its oldest known reference comes from the poet Juvenal's characterization of something being "rara avis in terris nigroque simillima cygno" (6.165).[1] In English, this Latin phrase means "a rare bird in the lands, and very like a black swan." When the phrase was coined, the black swan was presumed not to exist. Juvenal's phrase was a common expression in 16th century London as a statement of impossibility. The London expression derives from the Old World presumption that all swans must be white because all historical records of swans reported that they had white feathers. In that context, a black swan was impossible or at least nonexistent. After a Dutch expedition led by explorer Willem de Vlamingh on the Swan River in 1697, discovered black swans in Western Australia, the term metamorphosed to connote that a perceived impossibility might later be disproven.

9/16/95: With Chicago's beautiful skyline in the background, a Chicago Central transfer heads south to Markham on a warm September day. Vintage power like thesereBuilt Geeps are almost nonexistent today. MILW GP20 and Paducah Geeps. I sincerely miss the Chicago Central!

Feed a fever, starve a cold? One of those old chestnuts of folklore that I never could remember. No matter how it really goes, in my mind it sounds delightful to feed a fever. It's just a wonderful metaphor for how bad things sometimes escalate. Not really looking for mayhem in my own life but it does play well with the visual construct of my photostream. I like for there always to be a degree of discomfort looking at these photos. Anyway back to the old adage, I woke up the other morning feeling a bit under the weather. Not quite as energetic as usual and a bit foggy-headed (more so than usual). This soon morphed into a sore throat and my voice dropped a couple of octaves. Unquestionably a common cold developing, something I haven't experienced in years. How could this happen I wondered? I retraced my steps over the past few days and soon settled on a community Easter egg hunt that I had photographed Saturday morning. No idea if that was the source but I have to pin the blame on something. And being in a large roomful of kids seems like a safe bet for my disease vector. "Rotten kids" I growled last evening in my new-found radio announcer voice. Dinner last night tasted as if I was eating prop food from a movie set. Virtually tasteless. But I kept at my home remedies, gargling with salt water and sucking zinc lozenges, accompanied by an occasional spray of Zicam. Woke up today feeling nearly new again. Sure hoping I dodged the bullet here. Seems too good to be true but I've focused the last several years on clean living and working out. So hopefully I'm good for another five or six years. Time will tell.

 

The subject photo has nothing whatsoever to do with any of this, but that's how it goes sometimes. The connection is sometime tenuous or even nonexistent. I captured this scene in the local cemetery right at sunset. I love being here and ex-eriecning this time of day. A place that's all too familiar by day is transformed into a world dark silhouettes and rich sky tones. In these minutes it's as if I'm someplace else as the surroundings become beautiful yet completely unrecognizable. Moments like this make me value my good health all the more and propel me on explorations like this. I'm encouraged to waste not a moment of precious life.

 

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!

 

medium.com/art-submissions/invisible-art-manifesto-haters...

Invisible Art manifesto - HATERS, FANS, & COOL PPL ONLY!!!!!!

March 21, 2015 at 8:31pm

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 perhaps 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 friendships/relationships impossible for me, melting the glorious ice sculpture of my social life into a sad little puddle. I refuse to have those spiteful, jealous people in my life because by harboring any negativity towards someone like 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 gal 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 my eyes showed me 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, bettereverything. 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 anything 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, though further really. 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—an unending, unshakable drive to reach your highest self. People often make a wrong turn in this cyber game and go back a few levels or get stuck. Those that keep pushing on, 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 be required to wear a radioactive warning sign (his energy field will melt your brain - best wear your tinfoil hats in his presence). 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 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 towards. I don’t speak in riddles, I speak to a specific audience of intelligent humans who will understand perfectly, so I’m counting only on them, the ones, the “Awesomes.”.

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 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. In reality, IVA simply stands for Invisible Art.

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 oooh and aaahh reaction. Replace the recycled images ad nauseum; repetitous, worn-out ideas; disposable, gimmicky, money-driven fast art for simpletons. Stick with the highest of standards and save the whole bloody planet.

  

Fine art is often confused with craft-making. This often elicits bad blood between classically trained artists who can create unique works that leave a lasting impression, that make strong conversation pieces, that are thought-provoking and deep… and trained craftspeoplewhose skills are adequate enough to create decorative fillers for homely environments — landscapes, still lifes, animals, pretty fairies, common themes of fantasy, and other simple things. 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, attract and repel, arousing powerful emotions in viewers, illuminating, mystifying. 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 massive load of bricks on your back you’ll never use or need.

The watering down of creativity that digital packratting 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… businessmen highly trained in entrepreneurship disguised as artists.

So again, you don’t get the Paul Jaisini or Gleitzeit or Invisible Art 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 while they clearly lack education in fine art or art history and possess little to no talent or skill to back up their loud assertions. My BS detector seldom fails on such things as credibility. 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 avoid looking the pompous fool, 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 with more concern over *who* is right than *what* is right. Who in their right mind can stand them? 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, observation from different 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 be 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 must push harder.

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—and prove themselves worthy as a good, positive influence. Avoid dark clouds, attention whores and idle, bored people - they are all energy vampires. Practice control over your emotions and block out distractions others place on you, block out pity completely.

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!

Now don’t judge me, I’m young and still learning, but I’m glad to have these strong convictions and aspirations already. It truly feels at times like a supernatural power is guiding me. Something unexplainable out of nowhere possesses me to write these half-crazed mini-novels and make strange art.

To be continued, still lots more ignorance and pettiness to battle… Till then peace out my bambini. MWAH!

Le système de ramassage des détritus en Inde est quasiment inexistant, les cochons s'occupent d'une grande partie du nettoyage des espaces urbains...

 

The system of garbage collection in India is almost nonexistent, pigs care for much of the cleanup of urban ...

 

भारत में कचरा संग्रहण की व्यवस्था शहरी की सफाई के लिए बहुत लगभग nonexistent है, सूअर ध्यान ...

MDDE RS3M 1202 pulls 4 cars towards the chemical plant they’re due for, the Ex EL ALCO abomination has since had both windshields removed due to it’s conrail overhaul, which also included the removal of the original prime mover in favor of an EMD 567C

Managed to put these side-by-side. There is a difference (honest!) and it's not to do with color/tint/exposure.

 

I want to wish all my amazing friends on Flickr the best for a peaceful, safe and restorative summer! It's a time to cherish family, relax, and let the warm weather work its recuperative magic!

 

With all that said, I've been buried in an avalanche of work, so the opportunity to get out as Leanna has been nonexistent.

This photo was taken a couple of months ago, and represents - for me, at least - a point in time where everything seemed to fall into place, as well as portend a future filled with promise.

 

While I continue to enjoy all your beautiful photos, I can't wait to once again share my own in the spirit of our unique and precious sisterhood.

 

May your days be bright, your evenings balmy, and your hearts filled with love!

  

Oops! It turns out this was a different coach to yesterday’s East Yorkshire! So, three more and then I'm done with rail replacement week! Well, with that, that's both the National Express Levante 2s I previously photographed updated and in the bag. And of all the East Yorkshire Coaches fleet, only three coaches, two of them Levantes, remain. Two of them are regulars on long-distance Wyke services, but one annoyingly is seemingly nonexistent. The long journey begins!

 

Seen here initially taken as a throw-away shot without me clocking the number plate, East Yorkshire Coaches' 85, a 2013 Volvo B9R Caetano Levante new for National Express services and originally registered YY63 OJB, is seen here having got out from it's bay and heading into the coaching side of Hull Interchange for a run on rail replacement services.

These cruisers are the spearhead of any planet assault staged by the Federal Collective. They are armed with 4 'Incinerator' cannons, which can render any target nonexistent. They are also equipped with numerous countermeasures throughout the hull for protection from any kind of weaponry.

Crew: 30-45

Length: 90 meters ~ 296 feet

 

.- Fond memories of a nonexistent past .....

 

- Bonitos recuerdos..., de un pasado inexistente...

It is really an extraordinary epoch in which so many men can be made to believe that a people is being given happiness by being reduced to subjection, by being robbed of all that is most precious to it, that is to say of its own civilization, by being forced to adopt manners and institutions that were made for a different race, and by being constrained to the most distasteful kinds of work, in order to make it acquire things for which it has not the slightest use. For that is what is taking place: the modern West cannot tolerate that men should prefer to work less and be content to live on little; as it is only quantity that counts, and as everything that escapes the senses is held to be nonexistent, it is taken for granted that anyone who is not in a state of agitation and who does not produce much in a material way must be 'lazy'. In evidence of this and without speaking of the opinions commonly expressed about Eastern peoples, it is enough to note how the contemplative orders are viewed, even in circles that consider themselves religious. In such a world, there is no longer any place for intelligence, or anything else that is purely inward, for these are things that can neither be seen nor touched, that can neither be counted nor weighed; there is a place only for outward action in all its forms, even those that are the most completely meaningless. For this reason it should not be a matter for surprise that the Anglo-Saxon mania for sport gains ground day by day: the ideal of the modern world is the 'human animal' who has developed his muscular strength to the highest pitch; its heroes are athletes, even though they be mere brutes; it is they who awaken popular enthusiasm, and it is their exploits that command the passionate interest of the crowd. A world in which such things are seen has indeed sunk low and seems near its end.

 

Let us consider things for a moment from the standpoint of those whose ideal is material 'welfare', and who therefore rejoice at all the improvements to life furnished by modern 'progress'; are they quite sure they are not being duped? Is it true that, because they dispose of swifter means of communication and other things of the kind, and because of their more agitated and complicated manner of life, men are happier today than they were formerly? The very opposite seems to us to be true: disequilibrium cannot be a condition of real happiness. Moreover, the more needs a man has, the greater the likelihood that he will lack something, and thereby be unhappy; modern civilization aims at creating more and more artificial needs, and as we have already said, it will always create more needs than it can satisfy, for once one has started on this path, it is very hard to stop, and, indeed, there is no reason for stopping at any particular point. It was no hardship for men to do without things that did not exist and of which they had never dreamed; now, on the contrary, they are bound to suffer if they lack these things, since they have become accustomed to consider them as necessities, with the result that they have, in fact, really become necessary to them. Therefore men struggle in every possible way to obtain the means of procuring material satisfactions, the only ones that they are capable of appreciating: they are interested only in 'making money', because it is money that enables them to obtain these things, the more of which they have, the more they wish to have, as they go on discovering fresh needs; and this passion becomes for them the sole end in life. Hence the savage competition certain evolutionists have raised to the dignity of a scientific law under the name of 'the struggle for existence', whose logical consequence is that only the strongest, in the narrowly material sense of the word, have a right to exist. Hence also the envy and even hatred felt toward those who possess wealth by those who do not; how could men to whom egalitarian theories have been preached fail to revolt when they see all around them inequality in the most material order of things, the order to which they are bound to be the most sensitive? If modern civilization should some day be destroyed by the disordered appetites that it has awakened in the masses, one would have to be very blind not to see in this the just punishment of its basic vice - or, without resorting to the language of morality, the repercussion of its own action in the same domain in which this action has taken place. The Gospel says 'all they that take the sword

shall perish by the sword'; those who unchain the brute forces of matter will perish, crushed by these same forces, of which they will no longer be masters; having once imprudently set them in motion, they cannot hope to hold back indefinitely their fatal course. It is of little consequence whether it be the forces of nature or the forces of the human mob, or both together; in any case it is the laws of matter that are called into play, and that will inexorably destroy him who has aspired to dominate them without raising himself above matter. The Gospel also says: 'If a house be divided against itself, that house cannot stand'; this saying also applies fully to the modern world with its material civilization, which cannot fail, by its very nature, to cause strife and division everywhere. The conclusion is obvious and, even without appealing to other considerations, it is possible to predict with all certainty that this world will come to a tragic end, unless a change as radical as to amount to a complete reversal of direction should intervene, and that very soon.

  

René Guénon - The Crisis of the

Modern World

  

#within It’s #flexible #because it has #multiple #principles #Paintings with a #capacity to #change #visually by the #artistic #magic #changing #your #subconscious #mind It is a #session of #Hypnosis that #controls you by a #disorganized #absolute #harmony of #everything #expected #from a #nonexistent #picture It #depends #upon the #pattern of #line as a #primal #creator of #whatever #associated or #disassociated from the #theme The #artists #mind is the #superior #beginning of the line, but the line is #free and #emancipated. #Flexi is a #new #neo #pro #anti #post #pauljaisini #manifesto #short #version #1994 #artnews #prophecy

#YOU #CAN #PAINT #YOUR #WALLS #SAME AS #ROTHKO DID, OR YOU CAN #DRIP YOUR #PAINT ON THE #FLOOR AS #POLLOCK DID, #BUT DON’T YOU #DARE #CALL IT THE #FINE #HIGHART. IT’S #CALLED AN #ANARCHY & #UNCONTROLLABLE #CHAOS. IT DOESN’T #REALLY #MATTER IF YOU’D #HAND A #GUN TO #3 #YEARS #OLD OR A #PAINTBRUSH TO A #MONKEY, THE #RESULT WILL BE THE #SAME -#INNOCENT #FREEDOM FOR #DESTRUCTION OF #BEAUTY & #HARMONY. DON’T YOU DARE MY #SUPER #INTELLECTUAL” SUPER ARTISTS #TWIST THE #PERCEPTION OF #FREEDOM IN #BEAUTY. #RECYCLING SAME #CRAFT FOR OVER #60 #YEARS IS NOT #INNOVATION, IT’S #MADNESS. #MOST OF YOU ARE #CRAFTSMEN, WHO #LACK EVEN #BASIC #ART #SKILLS, #KNOWLEDGE OR #TECHNQUE. IN #ORDER TO #CREATE #MUSIC YOU WOULD NEED A BASIC KNOWLEDGE OTHERWISE IT WOULD BE #CHAOS OR #CONTEMPORARY #CACOPHONY, CALLED #FREESTYLE. I’M HERE TO #JUDGE & I HAVE #RIGHTS TO DO SO, #BECAUSE I #DESTROYED MY #PAINTINGS 19 YEARS AGO, #REALIZING THAT I FELL #UNDER THE #SPELL OF #MODA = #MODERN. NOW, FOR OVER 19 YEARS I’M #PAINTING #INVISIBLEPAINTINGS. I #LOVE #TRUE #BEAUTY & TRUE #TALENT. I #VALUE #PEOPLE #WHO LOVE ART, WHO #BELIEVE IN ART, WHO #INVEST IN ART. BUT I WILL #FIGHT THOSE WHO ARE #TRYING TO #KILL THIS #ALL. #BEWARE #MY #INVISIBLE #PAINTINGS ARE #COMING TO MAKE YOUR #VISUAL #CRAFT #INVISIBLE. #KIDS #MUST PAINT AS KIDS DO= #ARTIST #MUST #PAINT AS #MASTERS #DO #PAULJAISINISAID #JAISINISAID #PAULJAISINI #JAISINI

#gleitzeit #manifesto #2015 #newyorkcity #nyc #His #eyes #see #dialistically #theway #mystics #see

 

#gleitzeit #glitter #detail #bow #manifesto #photography #jaisini #diamond #beads #grunge #frame #border #soft #focus # #decor #bokeh #jaisinipainting #creative #fashion #amazingink #ink #drawing #pic #image #cute #polish #transparent #brightness #contemporary #flower #graphic #painted #futurismjaisini #spacejaisini #spacecraftjaisini #metaljaisini #starsjaisini #alienjaisini #universejaisini #saturation #toning #positioning #tiltshift #vignette #artistic #handmade #flashing #lights #graphicdesign #cs6 #sketchbook #graffiti #sharpie #stickers #colorbalance #masterpiece #swag #hot #manifesto #surreal #seer #surrealism #animated #animation #exposure #hipster #cake #cupcake #cream #mint #honey #sapphire #blue #peach #orange #yellow #green #highlights #polish #shadow #contrast #author #anime #boho #glam #vision #optical #visual #loop #3d #acid #trip #psychedelic #scale #decor #love #sweet # #perfect #roses #lights #decorative #genius #prophet #prophecies #art #robot #catrobot #cattoy #toy #cat-toy #star #opart #opticalillusion #colorful #star #painting #wallpaper #design #rainbow #lips #love #games #puzzle #glow #groovy #hippie #neon #blue #aqua #aquamarine #flowers #acid #bright #effect #art #hypnotic #sparkles #sparkle #glwointhedark #moonlight #stardust #galaxy #futuristic #universe #energy #reflection #illusion #photoset, #eye #green #red #yellow #white #black #blackboard #chalk #artschool #sketch #talent #series #inspiration #creative #fashion #amazingink #ink #drawing #pic #image #cute #polish #vibrant #dark #magic #painted #abstract #contemporary #flower #graphic #paintings #artistic #graphicdesign #cs6 #sketchbook #graffiti #sharpie #masterpiece #swag #hot #manifesto #gleitzeit #pauljaisini #surreal #seer #prophet #surrealism #animated #animation #author #anime #boho #glam #vision #trippy #optical #illusion #visual #loop #3d #acid #trip #psychedelic #perfect #shoutout #caramel #honey #topaz #grunge #victoriasecret #trip, #perfect, #shoutout, #redrose #rose #spacemen

#feline #catwoman #tiger #epic #nyc #event #fun #sparkling #colorful #psychedelic #invisible #love #unique #chocolate #vanilla #coffee #cool #inspiration #style #beauty #pretty #stylish #shiny #doodle #luxury #disco #vibrant #dark #magic #painted #abstract #icarus #marblelady #911 #narcissus #blue-reincarnation #moving #movingpicture #video #neonpink #crayons #digital #digitalart #bling #happy #relax #photoeffect #paintedphoto #glittered #dream, #journey #infinite #dreams #high #dmt #cosmos #lsd #trippy #d rugs #acid #trip #hippie #wonder #imagine #quest #moon #STELLYRIESLING #DAVINCI #ARTSHOW #NEW #FOLLOW #FUTUREFOLLOWS #PERSPECTIVE #FANTASTIC #GALAXY #INFINITY #see #blacklight #topaz #glance <3 #heart #hearts #texture #backround #collage #compo #skull #skulls #red #crystal #crystals #jewels #super #fancy #wow #fly #mood #turquoise #cobalt #aurora-borealis #glam #glamorous #beautiful #saturated #interesting

#girl #perception #viewpoint #love #art #style #glass #beach #cigarette #butts #2 #= #0 #sad #lonely #sexy #1 #x #legs #beach #summer #reflection #selfie #stelly #stelly-riesling #artistic #nyc #newyorkcity #hot #young #trendy

 

....Here we are, standing at a door step of peace.

A war in which difference between a soldier and a civilian were nonexistent is now over.

This day, the 25th of September 2023 will be remembered as begging of a new age of humanity......

 

Overview without the car

 

Check out the full gallery: www.flickr.com/photos/angelo_s/sets/72157630763011096/

 

My newest MOC, I think it is the first time I do something bigger related to modern military theme.

 

I don't have nothing much to say, about the creation, I just hope you enjoy it ;)

 

Every comment and fave is highly appreciated, so don't be shy!

Another misprint from a trip to Vanuatu in 2013. I'm loving the chance effects of whatever happened to the film negatives in the printing process. The lovely guy on the right was our guide in Port Vila. The left side is from another photo, taken from a terrace of a bar on the harbour. We only spent one day in Port Vila as part of our cruise so my knowledge of the city is almost nonexistent. But I'd love to go back and get to know the place better, as well as the rest of the country – which I'm sure is worth visiting and spending some time in.

 

Canon Eos 300

Canon EF 50mm f1.8

Some colour film

SET 4 – West Point Wal-Mart

 

What’s up, party people?! Okay… I promise I’ll never say that again, as long as you promise to forgive me for how sporadic/nonexistent my uploads have been lately. With any luck, busy season should finally be over at work, and in turn hopefully my uploads will begin to get back on pattern – even if that pattern is considerably slower than it had been in the past. I also hope to bring my blog back from the dead, too: if not this month, then next month for sure. Anyway, at the risk of falling behind yet again by way of not waiting until I have a few more sets of descriptions built up in my reserves, since it’s been so long I’m posting these ones hot off the press today. We’re back at the West Point Wal-Mart, still hanging around in its furniture department aisle.

 

(c) 2022 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 :)

 

I took that image @ "Santa's Enchanted Forest"

Miami, Florida, USA.

December 26th/2009

 

Nikon D 5000

 

.........................................................................................................................................................

  

Isaiah 9:6 (New International Version, ©2010)

 

For to us a child is born,

to us a son is given,

and the government will be on his shoulders.

And he will be called

Wonderful Counselor, Mighty God,

Everlasting Father, Prince of Peace.

 

The Real Meaning of Christmas

 

A Bethlehem Grotto from The First Christmas

by Dr. Paul L. Maier

  

While they were there, the time came for her to deliver her child. And she gave birth to her firstborn son and wrapped him in bands of cloth, and laid him in a manger, because there was no place for them in the inn. Luke 2:6-7

 

Some critics doubt that Jesus was born in Bethlehem and argue instead for Nazareth or elsewhere. Such opinions, however, are based only on scholarly conjecture, and no source has been discovered to date that disproves Jesus' birth in Bethlehem.

 

It is almost certain that Joseph and Mary reached Bethlehem in the late afternoon or early evening. Had they arrived earlier, lodging would not have been so difficult to find, although Bethlehem would have been crowded enough with the many descendants of King David returning to register at their ancestral home.

 

The picture of Joseph going from door to door, desperately begging shelter because Mary was in labor, has always struck a poignant chord amid the joy wreathing the rest of the Christmas story. And the nameless innkeeper who refused them refuge is usually associated with Judas Iscariot in the popular mind. But probably he - or was it his sympathetic wife? - remembered the cave behind the inn, where animals were sheltered, and he threw it open to the hapless couple. The hills around Bethlehem are perforated with such caverns, and they are still used to shelter cattle and sheep. Grateful for any refuge in the crisis of his wife's birth pangs, Joseph carefully led the donkey and its precious burden down a steep path behind the caravansary to the cave below it.

 

From all accounts of the Nativity, it seems that no one assisted Mary at the birth of Jesus - not even Joseph, for husbands were not to play the role of midwives. Self-delivery was by no means uncommon at the time. The women of Palestine, unlike neighboring mothers, prided themselves on delivering their babies rather easily and were quite able to take care of themselves in the absence of a midwife, though physicians and midwives were also regularly used. Luke simply relates that Mary gave birth to her firstborn son, wrapped him in bands of swaddling cloth, and laid him in a feeding trough, which must have had the sweetish, grainy smell of hay, barley, and oats.

 

And so the incredible paradox happened at Bethlehem: history's greatest figure was born, not in a palace or mansion, but in a cavern-stable. For Joseph and Mary, the holiest moment of all must have come before the shepherds paid their famous visit as they gazed at the extraordinary baby whose mission even they could scarcely comprehend. Small wonder that this has been the most familiar scene in all the florid history of art. Each generation, each school has attempted to portray the Nativity, with backgrounds ranging from Oriental to Italian to Flemish, and yet the tableau of the Holy Family in the Bethlehem grotto has remained an unconquered artistic challenge.

 

There is evidence that someone in Bethlehem relented and offered more normal accommodations to Joseph, Mary, and the newborn Jesus. For by the time the Wise Men arrived to present their gifts, the Holy Family seems to have been living in a "house" (Matt. 2:11). Or, as happens on any vacation trip today, the motel vacancies that are nonexistent on the night of arrival because the traveler failed to call ahead for reservations quickly materialize the next day.

 

All Bethlehem must have rustled with news about "that poor girl from Galilee" who had no sooner arrived in town than she bore a child, since the shepherds and, later, the Magi had no trouble finding the Holy Family. Clearly, they must have been directed by the townspeople.

 

Jesus' birth in this particular town had vast implications for the people of Palestine. Bethlehem, which means "House of Bread," was not only the setting for the story of Ruth, but it became the birthplace of David, and here the prophet Samuel anointed him King. Later it became the expected birthplace of that great "Son of David," or "Messiah," who was supposed to liberate the land from foreign control. It was no accident that over in Jerusalem, King Herod's priests came up with Bethlehem as the logical place to send the Wise Men for any newborn Christ, the Greek translation for the Hebrew Messiah.

 

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!

 

Blue Reincarnation Narcissus by Jaisini

  

The theme of Narcissus in Paul Jaisini’s “Blue…” may be paralleled with the problem of the two-sexes-in-one, unable to reproduce and, therefore, destined to the Narcissus-like end. Meanwhile, the Narcissus legend lasts.

  

In the myth of Narcissus a youth gazes into the pool. As the story goes, Narcissus came to the spring or the pool and when his form was seen by him in the water, he drowned among the water-nymphs because he desired to make love to his own image.

  

Maybe the new Narcissus, as in “Blue Reincarnation,” is destined to survive by simply changing his role from a passive man to an aggressive woman and so on. To this can be added that, eventually, a man creates a woman whom he loves out of himself or a woman creates a man and loves her own image but in the male form. The theme of narcissism recreates the ‘lost object of desire.’ “Blue” also raises the problem of conflating ideal actual and the issue of the feminine manhood and masculine femininity.

  

There is another story about Narcissus’ fall which said that he had a twin sister and they were exactly alike in appearance. Narcissus fell in love with his sister and, when the girl died, would go to the spring finding some relief for his love in imagining that he saw not his own reflection but the likeness of his sister. “Blue” creates a remarkable and complex psychopathology of the lost, the desired, and the imagined. Instead of the self, Narcissus loves and becomes a heterogeneous sublimation of the self. Unlike the Roman paintings of Narcissus which show him alone with his reflection by the pool, the key dynamic in the Jaisini’s “Blue” is the circulation of the legend that does not end and is reincarnated in transformation when auto-eroticism is not permanent and is not single by the definition.

  

In “Blue,” we risk being lost in the double reflection of a mirror and never being able to define on which side of the mirror Narcissus is. The picture’s color is not a true color of spring water. This kind of color is a perception of a deep seated human belief in the concept of eternity, the rich saturated cobalt blue.

  

The ultra-hot, hyper-real red color of the figure of Narcissus is not supposed to be balanced in the milieu of the radical blue. Paul Jaisini realizes the harmony in the most exotic colors combination. While looking at “Blue,” we can recall the spectacular color of night sky deranged by a vision of some fierce fire ball. The disturbance of colors create some powerful and awe-inspiring beauty.

  

In the picture’s background, we find the animals’ silhouettes which could be a memory reflection or dream fragments. In the story, Narcissus has been hunting - an activity that was itself a figure for sexual desire in antiquity. Captivated by his own beauty, the hunter sheds a radiance that, one presumes, reflects to haunt and foster his desire. The flaming color of the picture’s Narcissus alludes to the erotic implications of the story and its unresolved problem of the one who desires himself and is trapped in the erotic delirium. The concept can be applied to an ontological difference between the artist’s imitations and their objects. In effect, The Jaisini’s Narcissus could epitomize artistic aspiration to the control levels of reality and imagination, to align the competition of art and life, of image with imaginable prototype.

  

Paul Jaisini’s “Blue” is a unique work that adjoins the reflection to reality without any instrumentality. “Blue” is a single composition that depicts the reality and its immediate reflection. Jaisini builds the dynamics of the desire between Narcissus and his reflection-of-the-opposite by giving him the signs of both sexes, but not for the purpose of creating a hermaphrodite. The case of multiple deceptions in “Blue” seems to be vital to the cycle of desire. Somehow it reminds one of the fate of the artists and their desperate attempts to evoke and invent the nonexistent.

  

“Blue” is a completely alien picture to Jaisini’s “Reincarnation” series. The pictures of the series are painted on a plain ground of canvas that produces the effect of free space filled with air. “Blue,” to the contrary, is reminiscent of an underwater lack of air; the symbolic meanings of this picture’s texture and color contributes to the mirage of reincarnation.

  

“Blue Reincarnation” (Oil painting) by Paul Jaisini

New York 2002, Text Copyright: Yustas Kotz-Gottlieb

ALL RIGHTS RESERVED

  

www.fwhc.org/poems/blue-reincarnation.htm

A wonderful, creative and sweet man. Rest in Peace.

 

Michael's Flickr www.flickr.com/photos/24796741@N05/

 

Michael Paul Smith, 67, Founder of a Beloved Imaginary Town, Dies

 

By Neil Genzlinger

Dec. 13, 2018

 

One of the assorted jobs Michael Paul Smith had on his way to unexpected fame was as a mail carrier.

 

“Everything you do, you will learn from it,” he said, “and you will use it later on in life.”

 

The delivery rounds he made proved useful when, years later, he became founder, chief architect and mayor of Elgin Park, surely the most visited fake town in the United States. The town, frozen in a mid-20th-century haze, exists only in the carefully staged photographs that Mr. Smith made with a cheap camera, vintage model miniature cars, tiny hand-built sets and a keen sense of perspective.

 

In 2010, the Flickr site where he displayed those pictures went viral, and within four years 74 million virtual visitors had spent time in Elgin Park. His letter-delivering experience, he said, helped make his imaginary town as close to real as something nonexistent can be.

 

“When I was mailman,” he said in “Elgin Park,” a brief 2015 documentary by Danny Yourd, “it made me aware of how streets are laid out, how towns grow. My photographs read well because there is a logic to it.”

 

A few weeks ago, visitors to the Flickr site encountered a posting saying that Mr. Smith had “moved permanently to Elgin Park,” words he himself had chosen for the announcement. He died on Nov. 19 in Reading, Mass., at 67.

His longtime partner, Henry Goldberg, said the causes were pancreatic cancer and complications of diabetes.

 

Mr. Smith created his photographs using forced perspective, the technique of making an object seem larger or smaller than it really is based on its juxtaposition with other objects. He would place the model cars and miniature buildings and props he had fashioned on a platform positioned just so — the real buildings and trees in the background would combine with the staged materials to create a realistic scene.

 

He strove for authenticity, putting baking soda on tires for a winter scene because snow sticks to tires, or making sure there was a tiny puddle under an old-fashioned milk truck because blocks of ice inside would melt a bit as it sat at the curb. But, as Daniel Strohl of Hemmings Daily, a classic-car site that first publicized Mr. Smith’s death, noted, the Elgin Park universe was defined to an extent by the kind of model cars that were available to its creator: pristine high-end automobiles that suggested a glossy version of midcentury America.

 

“Given the depth of thought he put into his artwork,” Mr. Strohl said of Mr. Smith in an email interview, “I’d argue that he at the very least recognized that myth and was, in his own way, commenting on how the past can easily be idealized, if not actively scrubbed of its messier aspects.”

 

Michael Paul Smith was born on Nov. 22, 1950, in Pittsburgh to Roy and Audrey Smith. He grew up north of that city, in Sewickley, Pa., the town that became a model for his fictional one.

 

“Elgin Park is not an exact re-creation of Sewickley,” he told The New York Times in 2010, “but it does capture the mood of my memories.”

Although many of the Elgin Park photographs look idyllic, Mr. Smith’s memories were not uniformly so. In the documentary, he spoke of being bullied because he was gay.

 

“It got so bad that the teachers let me leave class 15 minutes before the bell rang because they knew I was getting tromped on,” he said.

 

His family moved to Auburn, Mass., when he was a teenager, and after graduating from high school there he attended classes for three years at the Worcester Art Museum. He briefly enrolled at the University of Massachusetts at Amherst, then got a job with an advertising agency, working there until a heart attack sidelined him at 33.

 

Moving to Boston, Mr. Smith started a wallpaper and painting company, then made models for an architectural firm. And he developed a hobby: collecting model miniature cars, many of them from the Franklin Mint or the Danbury Mint, both known for their exacting standards.

 

He posted his first photograph in 2008, but his work drew little attention for a year and a half. Then a car magazine in England reproduced a few of his pictures, and his click count soared.

 

“The day it hit the stands,” he said, “it went from a thousand hits to a million hits.”

 

National news coverage in the United States in 2010, including the article in The Times, fueled the interest. Mr. Smith’s work would eventually result in two books, “Elgin Park: An Ideal American Town” (2011) and “Elgin Park: Visual Memories of Midcentury America at 1/24th Scale” (2015), both written with Gail K. Ellison. A note Mr. Smith wrote on the Flickr site in 2010 announcing his first book contract gives a sense of how casual and do-it-yourself his art was.

 

“What’s most interesting,” he wrote, “is when I started to take the photos of my models, I had no idea what I was doing. I just aimed and shot with the little digital Sony. Who knew you had [to] set the DPI, or whatever it’s called, to the highest setting?”

 

Complete information on his survivors was not immediately available.

Elgin Park (a name that just came to him, Mr. Smith said, and wasn’t related to real towns with similar names) may not be a physical place, but it did become a community of sorts. He didn’t use Photoshop or similar tools, but he invited visitors to Photoshop themselves into his pictures, and many did, in period outfits, goofy costumes and so on, posting the results. But Elgin Park kept its standards.

 

“This is a family-oriented group,” the site advised. “Please, nothing you wouldn’t want your mother to see. Play nice or risk being run out of town on a rail!”

 

In the documentary, Mr. Smith reflected on why he created Elgin Park.

“I needed a place that I felt comfortable in,” he said.

“Elgin Park,” he added, “is never a lonely place for me.”

 

A version of this article appears in print on Dec. 20, 2018, Section B, Page 14 of the New York edition with the headline: Michael Paul Smith, 67; Inspired Millions to Visit A Tiny Imaginary Town.

 

From the New York Times: www.nytimes.com/2018/12/13/obituaries/michael-paul-smith-...

Australian magpie (Gymnorhina tibicen)

 

The Australian magpie (Gymnorhina tibicen) is a medium-sized black and white passerine bird native to Australia and southern New Guinea. Although once considered to be three separate species, it is now considered to be one, with nine recognised subspecies. A member of the Artamidae, the Australian magpie is placed in its own genus Gymnorhina and is most closely related to the black butcherbird (Melloria quoyi). It is not, however, closely related to the European magpie, which is a corvid.

 

The adult Australian magpie is a fairly robust bird ranging from 37 to 43 cm (14.5 to 17 in) in length, with distinctive black and white plumage, gold brown eyes and a solid wedge-shaped bluish-white and black bill. The male and female are similar in appearance, and can be distinguished by differences in back markings. The male has pure white feathers on the back of the head and the female has white blending to grey feathers on the back of the head. With its long legs, the Australian magpie walks rather than waddles or hops and spends much time on the ground.

 

Described as one of Australia's most accomplished songbirds, the Australian magpie has an array of complex vocalisations. It is omnivorous, with the bulk of its varied diet made up of invertebrates. It is generally sedentary and territorial throughout its range. Common and widespread, it has adapted well to human habitation and is a familiar bird of parks, gardens and farmland in Australia and New Guinea. This species is commonly fed by households around the country, but in spring a small minority of breeding magpies (almost always males) become aggressive and swoop and attack those who approach their nests.

Over 1000 Australian magpies were introduced into New Zealand from 1864 to 1874 but have subsequently been accused of displacing native birds and are now treated as a pest species. Introductions also occurred in the Solomon Islands and Fiji, where the birds are not considered an invasive species. The Australian magpie is the mascot of several Australian sporting teams, most notably the Collingwood Magpies, the Western Suburbs Magpies and Port Adelaide Magpies.

  

Taxonomy

 

The Australian magpie was first described by English ornithologist John Latham in 1801 as Coracias tibicen, the type collected in the Port Jackson region. Its specific epithet derived from the Latintibicen "flute-player" or "piper" in reference to the bird's melodious call. An early recorded vernacular name is piping poller, written on a painting by Thomas Watling, one of a group known collectively as the Port Jackson Painter, sometime between 1788 and 1792. Tarra-won-nang, or djarrawunang, wibung, and marriyang were names used by the local Eora and Darug inhabitants of the Sydney Basin. Booroogong and garoogong were Wiradjuri words, and carrak was a Jardwadjali term from Victoria. Among the Kamilaroi, it is burrugaabu, galalu, or guluu. It was known as Warndurla among the Yindjibarndi people of the central and western Pilbara. Other names used include piping crow-shrike, piper, maggie, flute-bird and organ-bird. The term bell-magpie was proposed to help distinguish it from the European magpie but failed to gain wide acceptance.

 

The bird was named for its similarity in colouration to the European magpie; it was a common practice for early settlers to name plants and animals after European counterparts. However, the European magpie is a member of the Corvidae, while its Australian counterpart is placed in the family Artamidae (although both are members of a broad corvid lineage). The Australian magpie's affinities with butcherbirds and currawongs were recognised early on and the three genera were placed in the family Cracticidae in 1914 by John Albert Leach after he had studied their musculature. American ornithologists Charles Sibley and Jon Ahlquist recognised the close relationship between woodswallows and the butcherbirds in 1985, and combined them into a Cracticini clade, in the Artamidae. The Australian magpie is placed in its own monotypic genus Gymnorhina which was introduced by the English zoologist George Robert Gray in 1840. The name of the genus is from the Ancient Greek gumnos for "naked" or "bare" and rhis, rhinos "nostrils". Some authorities such as Glen Storr in 1952 and Leslie Christidis and Walter Boles in their 2008 checklist, have placed the Australian magpie in the butcherbird genus Cracticus, arguing that its adaptation to ground-living is not enough to consider it a separate genus. A molecular genetic study published in a 2013 showed that the Australian magpie is a sister taxon to the black butcherbird (Melloria quoyi) and that the two species are in turn sister to a clade that includes the other butcherbirds in the genus Cracticus. The ancestor to the two species is thought to have split from the other butcherbirds between 8.3 and 4.2 million years ago, during the late Miocene to early Pliocene, while the two species themselves diverged sometime during the Pliocene (5.8–3.0 million years ago).

The Australian magpie was subdivided into three species in the literature for much of the twentieth century—the black-backed magpie (G. tibicen), the white-backed magpie (G. hypoleuca), and the western magpie (G. dorsalis). They were later noted to hybridise readily where their territories crossed, with hybrid grey or striped-backed magpies being quite common. This resulted in them being reclassified as one species by Julian Ford in 1969, with most recent authors following suit.

  

Subspecies

 

There are currently thought to be nine subspecies of the Australian magpie, although there are large zones of overlap with intermediate forms between the taxa. There is a tendency for birds to become larger with increasing latitude, the southern subspecies being larger than those further north, except the Tasmanian form which is small.[26] The original form, known as the black-backed magpie and classified as Gymnorhina tibicen, has been split into four black-backed races:

•G. tibicen tibicen, the nominate form, is a large subspecies found in southeastern Queensland, from the vicinity of Moreton Bay through eastern New South Wales to Moruya, New South Wales almost to the Victorian border. It is coastal or near-coastal and is restricted to east of the Great Dividing Range.

 

•G. tibicen terraereginae, found from Cape York and the Gulf Country southwards across Queenslandto the coast between Halifax Bay in the north and south to the Mary River, and central and western New South Wales and into northern South Australia, is a small to medium-sized subspecies. The plumage is the same as that of subspecies tibicen, although the female has a shorter black tip to the tail. The wings and tarsus are shorter and the bill proportionally longer. It was originally described by Gregory Mathews in 1912, its subspecies name a Latin translation, terra "land" reginae "queen's" of "Queensland". Hybridisation with the large white-backed subspecies tyrannica occurs in northern Victoria and southeastern New South Wales; intermediate forms have black bands of varying sizes in white-backed area. Three-way hybridisation occurs between Bega and Batemans Bay on the New South Wales south coast.

 

•G. tibicen eylandtensis, the Top End magpie, is found from the Kimberley in northern Western Australia, across the Northern Territory through Arnhem Land and Groote Eylandt and into the Gulf Country. It is a small subspecies with a long and thinner bill, with birds of Groote Eylandt possibly even smaller than mainland birds. It has a narrow black terminal tailband, and a narrow black band; the male has a large white nape, the female pale grey. This form was initially described by H. L. White in 1922. It intergrades with subspecies terraereginae southeast of the Gulf of Carpentaria.

 

•G. tibicen longirostris, the long-billed magpie, is found across northern Western Australia, from Shark Bay into the Pilbara. Named in 1903 by Alex Milligan, it is a medium-sized subspecies with a long thin bill. Milligan speculated the bill may have been adapted for the local conditions, slim fare meaning the birds had to pick at dangerous scorpions and spiders. There is a broad area of hybridisation with the western dorsalis in southern central Western Australia from Shark Bay south to the Murchison River and east to the Great Victoria Desert.

  

The white-backed magpie, originally described as Gymnorhina hypoleuca by John Gould in 1837, has also been split into races:

 

•G. tibicen tyrannica, a very large white-backed form found from Twofold Bay on the New South Wales far south coast, across southern Victoria south of the Great Dividing Range through to the Coorong in southeastern South Australia. It was first described by Schodde and Mason in 1999. It has a broad black tail band.

 

•G. tibicen telonocua, found from Cowell south into the Eyre and Yorke Peninsulas in southern South Australia, as well as the southwestern Gawler Ranges. Described by Schodde and Mason in 1999, its subspecific name is an anagram of leuconota "white-backed". It is very similar to tyrannica, differing in having a shorter wing and being lighter and smaller overall. The bill is relatively short compared with other magpie subspecies. Intermediate forms are found in the Mount Lofty Ranges and on Kangaroo Island.

  

•G. tibicen hypoleuca now refers to a small white-backed subspecies with a short compact bill and short wings, found on King and Flinders Islands, as well as Tasmania.

 

•The western magpie, G. tibicen dorsalis was originally described as a separate species by A. J. Campbell in 1895 and is found in the fertile south-west corner of Western Australia. The adult male has a white back and most closely resembles subspecies telonocua, though it is a little larger with a longer bill and the black tip of its tail plumage is narrower. The female is unusual in that it has a scalloped black or brownish-black mantle and back; the dark feathers there are edged with white. This area appears a more uniform black as the plumage ages and the edges are worn away. Both sexes have black thighs.

 

•The New Guinean magpie, G. tibicen papuana, is a little-known subspecies found in southern New Guinea. The adult male has a mostly white back with a narrow black stripe, and the female a blackish back; the black feathers here are tipped with white similar to subspecies dorsalis. It has a long deep bill resembling that of subspecies longirostris. Genetically it is closely related to a western lineage of Australian magpies comprising subspecies dorsalis, longirostris and eylandtensis, suggesting their ancestors occupied in savannah country that was a land bridge between New Guinea and Australia and was submerged around 16,500 years ago.

  

Description

 

The adult magpie is a fairly solid, sturdy bird ranging from 37 to 43 cm (14.5 to 17 in) in length with a 65–85 cm (25.5–33.5 in) wingspan, and weighing 220–350 g (7.8–12.3 oz). Its robust wedge-shaped bill is bluish-white bordered with black, with a small hook at the tip. The black legs are long and strong. The plumage is pure glossy black and white; both sexes of all subspecies have black heads, wings and underparts with white shoulders. The tail has a black terminal band. The nape is white in the male and light greyish-white in the female. Mature magpies have dull red eyes, in contrast to the yellow eyes of currawongs and white eyes of Australian ravens and crows. The main difference between the subspecies lies in the "saddle" markings on the back below the nape. Black-backed subspecies have a black saddle and white nape. White-backed subspecies have a wholly white nape and saddle. The male Western Australian subspecies dorsalis is also white-backed, but the equivalent area in the female is scalloped black.

Juveniles have lighter greys and browns amidst the starker blacks and whites of their plumage; two- or three-year-old birds of both sexes closely resemble and are difficult to distinguish from adult females. Immature birds have dark brownish eyes until around two years of age. Australian magpies generally live to around 25 years of age, though ages of up to 30 years have been recorded. The reported age of first breeding has varied according to area, but the average is between the ages of three and five years.

Well-known and easily recognisable, the Australian magpie is unlikely to be confused with any other species. The pied butcherbird has a similar build and plumage, but has white underparts unlike the former species' black underparts. The magpie-lark is a much smaller and more delicate bird with complex and very different banded black and white plumage. Currawong species have predominantly dark plumage and heavier bills.

 

Vocalisation

 

One of Australia's most highly regarded songbirds, the Australian magpie has a wide variety of calls, many of which are complex. Pitch may vary as much as four octaves, and the bird can mimic over 35 species of native and introduced bird species, as well as dogs and horses. Magpies have even been noted to mimic human speech when living in close proximity to humans. Its complex, musical, warbling call is one of the most familiar Australian bird sounds. In Denis Glover's poem "The Magpies", the mature magpie's call is described as quardle oodle ardle wardle doodle, one of the most famous lines in New Zealand poetry, and as waddle giggle gargle paddle poodle, in the children's book Waddle Giggle Gargle by Pamela Allen.

 

When alone, a magpie may make a quiet musical warbling; these complex melodious warbles or subsongs are pitched at 2–4 KHz and do not carry for long distances. These songs have been recorded up to 70 minutes in duration and are more frequent after the end of the breeding season. Pairs of magpies often take up a loud musical calling known as carolling to advertise or defend their territory; one bird initiates the call with the second (and sometimes more) joining in. Often preceded by warbling, carolling is pitched between 6 and 8 kHz and has 4–5 elements with slurring indistinct noise in between. Birds will adopt a specific posture by tilting their heads back, expanding their chests, and moving their wings backwards. A group of magpies will sing a short repetitive version of carolling just before dawn (dawn song), and at twilight after sundown (dusk song), in winter and spring.

 

Fledgling and juvenile magpies emit a repeated short and loud (80 dB), high-pitched (8 kHz) begging call. Magpies may indulge in beak-clapping to warn other species of birds.They employ several high pitched (8–10 kHz) alarm or rallying calls when intruders or threats are spotted. Distinct calls have been recorded for the approach of eagles and monitor lizards.

 

Distribution and habitat

 

The Australian magpie is found in the Trans-Fly region of southern New Guinea, between the Oriomo River and Muli Strait, and across most of Australia, bar the tip of Cape York, the Gibson and Great Sandy Deserts, and southwest of Tasmania. Birds taken mainly from Tasmania and Victoria were introduced into New Zealand by local Acclimatisation Societies of Otago and Canterbury in the 1860s, with the Wellington Acclimatisation Society releasing 260 birds in 1874. White-backed forms are spread on both the North and eastern South Island, while black-backed forms are found in the Hawke's Bay region. Magpies were introduced into New Zealand to control agricultural pests, and were therefore a protected species until 1951. They are thought to affect native New Zealand bird populations such as the tui and kereru, sometimes raiding nests for eggs and nestlings, although studies by Waikato University have cast doubt on this, and much blame on the magpie as a predator in the past has been anecdotal only. Introductions also occurred in the Solomon Islands and Sri Lanka, although the species has failed to become established. It has become established in western Taveuni in Fiji, however.

 

The Australian magpie prefers open areas such as grassland, fields and residential areas such as parks, gardens, golf courses, and streets, with scattered trees or forest nearby. Birds nest and shelter in trees but forage mainly on the ground in these open areas. It has also been recorded in mature pine plantations; birds only occupy rainforest and wet sclerophyll forest in the vicinity of cleared areas. In general, evidence suggests the range and population of the Australian magpie has increased with land-clearing, although local declines in Queensland due to a 1902 drought, and in Tasmania in the 1930s have been noted; the cause for the latter is unclear but rabbit baiting, pine tree removal, and spread of the masked lapwing (Vanellus miles) have been implicated.

 

Behaviour

 

The Australian magpie is almost exclusively diurnal, although it may call into the night, like some other members of the Artamidae. Natural predators of magpies include various species of monitor lizard and the barking owl. Birds are often killed on roads or electrocuted by powerlines, or poisoned after killing and eating house sparrows or mice, rats or rabbits targeted with baiting. The Australian raven may take nestlings left unattended.

 

On the ground, the Australian magpie moves around by walking, and is the only member of the Artamidae to do so; woodswallows, butcherbirds and currawongs all tend to hop with legs parallel. The magpie has a short femur (thigh bone), and long lower leg below the knee, suited to walking rather than running, although birds can run in short bursts when hunting prey.

 

The magpie is generally sedentary and territorial throughout its range, living in groups occupying a territory, or in flocks or fringe groups. A group may occupy and defend the same territory for many years. Much energy is spent defending a territory from intruders, particularly other magpies, and different behaviours are seen with different opponents. The sight of a raptor results in a rallying call by sentinel birds and subsequent coordinated mobbing of the intruder. Magpies place themselves either side of the bird of prey so that it will be attacked from behind should it strike a defender, and harass and drive the raptor to some distance beyond the territory. A group will use carolling as a signal to advertise ownership and warn off other magpies. In the negotiating display, the one or two dominant magpies parade along the border of the defended territory while the rest of the group stand back a little and look on. The leaders may fluff their feathers or caroll repeatedly. In a group strength display, employed if both the opposing and defending groups are of roughly equal numbers, all magpies will fly and form a row at the border of the territory. The defending group may also resort to an aerial display where the dominant magpies, or sometimes the whole group, swoop and dive while calling to warn an intruding magpie's group.

 

A wide variety of displays are seen, with aggressive behaviours outnumbering pro-social ones. Crouching low and uttering quiet begging calls are common signs of submission. The manus flutter is a submissive display where a magpie will flutter its primary feathers in its wings. A magpie, particularly a juvenile, may also fall, roll over on its back and expose its underparts. Birds may fluff up their flank feathers as an aggressive display or preceding an attack. Young birds display various forms of play behaviour, either by themselves or in groups, with older birds often initiating the proceedings with juveniles. These may involve picking up, manipulating or tugging at various objects such as sticks, rocks or bits of wire, and handing them to other birds. A bird may pick up a feather or leaf and flying off with it, with other birds pursuing and attempting to bring down the leader by latching onto its tail feathers. Birds may jump on each other and even engage in mock fighting. Play may even take place with other species such as blue-faced honeyeaters and Australasian pipits.

 

Breeding

 

Magpies have a long breeding season which varies in different parts of the country; in northern parts of Australia they will breed between June and September, but not commence until August or September in cooler regions, and may continue until January in some alpine areas. The nest is a bowl-shaped structure made of sticks and lined with softer material such as grass and bark. Near human habitation, synthetic material may be incorporated. Nests are built exclusively by females and generally placed high up in a tree fork, often in an exposed position. The trees used are most commonly eucalypts, although a variety of other native trees as well as introduced pine, Crataegus, and elm have been recorded. Other bird species, such as the yellow-rumped thornbill (Acanthiza chrysorrhoa), willie wagtail(Rhipidura leucophrys), southern whiteface (Aphelocephala leucopsis), and (less commonly) noisy miner (Manorina melanocephala), often nest in the same tree as the magpie. The first two species may even locate their nest directly beneath a magpie nest, while the diminutive striated pardalote (Pardalotus striatus) has been known to make a burrow for breeding into the base of the magpie nest itself. These incursions are all tolerated by the magpies. The channel-billed cuckoo (Scythrops novaehollandiae) is a notable brood parasite in eastern Australia; magpies will raise cuckoo young, which eventually outcompete the magpie nestlings.

 

The Australian magpie produces a clutch of two to five light blue or greenish eggs, which are oval in shape and about 30 by 40 mm (1.2 by 1.6 in). The chicks hatch synchronously around 20 days after incubation begins; like all passerines, the chicks are altricial—they are born pink, naked, and blind with large feet, a short broad beak and a bright red throat. Their eyes are fully open at around 10 days. Chicks develop fine downy feathers on their head, back and wings in the first week, and pinfeathers in the second week. The black and white colouration is noticeable from an early stage. Nestlings are fed exclusively by the female, though the male magpie will feed his partner. The Australian magpie is known to engage in cooperative breeding, and helper birds will assist in feeding and raising young. This does vary from region to region, and with the size of the group—the behaviour is rare or nonexistent in pairs or small groups.

 

Juvenile magpies begin foraging on their own three weeks after leaving the nest, and mostly feeding themselves by six months old. Some birds continue begging for food until eight or nine months of age, but are usually ignored. Birds reach adult size by their first year. The age at which young birds disperse varies across the country, and depends on the aggressiveness of the dominant adult of the corresponding sex; males are usually evicted at a younger age. Many leave at around a year old, but the age of departure may range from eight months to four years.

 

Feeding

 

The Australian magpie is omnivorous, eating various items located at or near ground level including invertebrates such as earthworms, millipedes, snails, spiders and scorpions as well as a wide variety of insects—cockroaches, ants, beetles, cicadas, moths and caterpillars and other larvae. Insects, including large adult grasshoppers, may be seized mid-flight. Skinks, frogs, mice and other small animals as well as grain, tubers, figs and walnuts have also been noted as components of their diet. It has even learnt to safely eat the poisonous cane toadby flipping it over and consuming the underparts. Predominantly a ground feeder, the Australian magpie paces open areas methodically searching for insects and their larvae. One study showed birds were able to find scarab beetle larvae by sound or vibration. Birds use their bills to probe into the earth or otherwise overturn debris in search of food. Smaller prey are swallowed whole, although magpies rub off the stingers of bees and wasps before swallowing.

 

Relationship with humans

 

Swooping

 

Magpies are ubiquitous in urban areas all over Australia, and have become accustomed to people. A small percentage of birds become highly aggressive during breeding season from late August to early - mid October, and will swoop and sometimes attack passersby. Attacks begin as the eggs hatch, increase in frequency and severity as the chicks grow, and tail off as the chicks leave the nest.

 

The percentage has been difficult to estimate but is significantly less than 9%. Almost all attacking birds (around 99%) are male, and they are generally known to attack pedestrians at around 50 m (160 ft) from their nest, and cyclists at around 100 m (330 ft). There appears to be some specificity in choice of attack targets, with the majority of individuals specializing on either pedestrians or cyclists.Smaller - especially younger - people, lone people, and people travelling quickly (i.e., runners and cyclists) appear to be targeted most often by swooping magpies. Anecdotal evidence suggests that if a magpie sees a human trying to rescue a chick that has fallen from its nest, the bird will view this help as predation, and will become more aggressive to humans from then on.

 

Magpies may engage in an escalating series of behaviours to drive off intruders. Least threatening are alarm calls and distant swoops, where birds fly within several metres from behind and perch nearby. Next in intensity are close swoops, where a magpie will swoop in from behind or the side and audibly "snap" their beaks or even peck or bite at the face, neck, ears or eyes. More rarely, a bird may dive-bomb and strike the intruder's (usually a cyclist's) head with its chest. A magpie may rarely attack by landing on the ground in front of a person and lurching up and landing on the victim's chest and pecking at the face and eyes.

 

Magpie attacks can cause injuries, typically wounds to the head, and being unexpectedly swooped while cycling can result in loss of control of the bicycle, which may cause injury.

 

If it is necessary to walk near the nest, wearing a broad-brimmed or legionnaire's hat or using an umbrella will deter attacking birds, but beanies and bicycle helmets are of little value as birds attack the sides of the head and neck.

 

Magpies prefer to swoop at the back of the head; therefore, keeping the magpie in sight at all times can discourage the bird. A basic disguise such as sunglasses worn on the back of the head may fool the magpie as to where a person is looking. Eyes painted on hats or helmets will deter attacks on pedestrians but not cyclists.

 

Cyclists can deter attack by attaching a long pole with a flag to a bike, and the use of cable ties on helmets has become common and appears to be effective.

 

Magpies are a protected native species in Australia, so it is illegal to kill or harm them. However, this protection is removed in some Australian states if a magpie attacks a human, allowing for the bird to be killed if it is considered particularly aggressive (such a provision is made, for example, in section 54 of the South Australian National Parks and Wildlife Act).[ More commonly, an aggressive bird will be caught and relocated to an unpopulated area. Magpies have to be moved some distance as almost all are able to find their way home from distances of less than 25 km (16 mi). Removing the nest is of no use as birds will breed again and possibly be more aggressive the second time around.

 

Some claim that swooping can be prevented by hand-feeding magpies. Magpies will become accustomed to being fed by humans, and although they are wild, will return to the same place looking for handouts. The idea is that humans thereby appear less of a threat to the nesting birds. Although this has not been studied systematically, there are reports of its success.

  

Cultural references

 

The Australian magpie featured in aboriginal folklore around Australia. The Yindjibarndi people of the Pilbara in the northwest of the country used the bird as a signal for sunrise, frightening them awake with its call. They were also familiar with its highly territorial nature, and it features in a song in their Burndud, or songs of customs. It was a totem bird of the people of the Illawarra region south of Sydney.

 

Under the name piping shrike, the white-backed magpie was declared the official emblem of the Government of South Australia in 1901 by Governor Tennyson, and has featured on the South Australian flag since 1904. The magpie is a commonly used emblem of sporting teams in Australia, and its brash, cocky attitude has been likened to the Australian psyche. Such teams tend to wear uniforms with black and white stripes. The Collingwood Football Club adopted the magpie from a visiting South Australian representative team in 1892. The Port Adelaide Magpies would similarly adopt the black and white colours and Magpie name in 1902. Other examples include Brisbane's Souths Logan Magpies, and Sydney's Western Suburbs Magpies. Disputes over who has been the first club to adopt the magpie emblem have been heated at times. Another club, Glenorchy Football Club of Tasmania, was forced to change uniform design when placed in the same league as another club (Claremont Magpies) with the same emblem.

 

In New Zealand, the Hawke's Bay Rugby Union team, from Napier, New Zealand, is also known as the magpies. One of the best-known New Zealand poems is "The Magpies" by Denis Glover, with its refrain "Quardle oodle ardle wardle doodle", imitating the sound of the bird – and the popular New Zealand comic Footrot Flats features a magpie character by the name of Pew.

 

An online poll conducted by Guardian Australia and BirdLife Australia was held in late 2017 to choose the "Australian Bird of the Year". The Australian magpie won the contest with 19,926 votes (13.3%), narrowly ahead of the Australian white ibis.

 

[Credit: en.wikipedia.org]

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!

 

Also out of service was 11274, which does at least come with something of a background. The 69 plate Prontos have plain sides where on the 18 plates it says Pay With Contactless, but the rest of the usual Pronto branding is still there, despite it having been nowhere near the Pronto in about a year and a half. The 'every 10 mins' isn't even valid anymore as they reduced the frequency to every 15, and then never bothered to update any of the graphics.

 

28.4.23

This is my attempt at bridging the half-stud gap with the fewest parts, as well as keeping the track bed minimal or nonexistent. I have not tried this in real life and cannot claim that it works or is conducive to successful running. Though I also cannot imagine any complications, unless I am missing something obvious.

“What treasures lay beyond Troll Bridge and what power had the troll over this free spirit of the sunset woods that it would sound the alarm at the mere suggestion of a stranger’s approach. How many had trod these boards before, never to return. Had they found paradise or perhaps the enticing golden glow beyond suggested the fires of another domain. ”

 

Taken & processed for "Active Weekly Assignment-Story Book Illustration"

 

WIT: Two photos in very different light. The raven was taken in bright daylight, the bridge before the sun

had fully risen and took very little saturation to achieve the blue hue. Put a little blue tint on the raven to match the background after pasting him into the shot. Photo Paint to add the small orange glow in the woods and “troll” image in the ravens eye.

 

Took "Dare 2" as most of the pixies and elves are hibernating up here at this time of year. Trying to capture the Lucky Charms guy at the local grocery store had way too much potential for embarrassment.

  

STORYBOOK ILLUSTRATION

 

Create a photographic illustration for a folk tale, fairy tale, legend, fable, or piece of classic literature. Your assignment must illustrate a scene from the narrative of your chosen work--in other words, it must show (or imply) action! Creative post-processing is encouraged, but it shouldn't be the only element to give your illustration that "storybook" quality.

 

Dares:

 

1. Use an unstaged photograph as the basis for your illustration.

 

2. Illustrate a hypothetical (i.e., as yet unwritten) work. If you accept this dare, you should provide both the title of the "work" and a sentence describing the portion of the narrative illustrated. For example, if you had submitted the photograph that inspired this assignment, cooliceblue's "dancing in the bath", you could describe it as an illustration for the nonexistent fairytale "The Princess and the Hair Clog" and provide a sentence explaining just what the princess is doing dancing alone in that bathtub.

  

It's been a couple of (long) years... With "stay home" orders, park closure and overcrowding, my visits to BPNP had been nonexistent. It was time to see if it still has a place in my heart ...

This month’s challenge called I Smell A (Modern) Rat asks us what would rat rodding be like if we applied the same principles to modern cars. For this I chose a Dodge Magnum with a V-8 Hemi. Instead of a more predictable post-apoc Mad Max look, I went with a beach combing car with rugged tires, wood paneling, and a nonexistent roof and tailgate. Just enough rust and patina adds a bit of well loved character while a wooden deck and benches gives this “Magnum Opus” a boat-like appearance that’s suitable for fishing, surfing, or just soaking up some rays. Its the perfect modern rat rod for a hot summer day!

Cold winter morning, much like today, when the Bewick's Wren hopped out from under the leaf litter to get heat from a nonexistent sun. But I at least was thankful that I took my camera even under such conditions. The Bewick's Wren is a frequent visitor to our back yard ('cause I'm too lazy to rake up after our one Japanese maple), a very enjoyable little bird. But this one was at Old Borges Ranch in the Open Space.

Ugh, lately i've felt like my creativity is nonexistent, you could say I am trapped in a box...

SARAJEVO Ode to Joy, Opus: Children of War,

Mirza Ajanovic POETIC Photography,

SARAJEVO WAR Gateway of Hell,

Grand OPUS; Sarajevo City of Light,

BOSNIA in Tragic WAR 1992-95,

POETIC Beauty and Strength of the Human Spirit,

During the years of terror cast upon Bosnia and my city of Sarajevo, photography remained my only medium of artistic expression. My painting conditions were nonexistent, (shortage of materials, time and peace). My photographs were captured while walking between steps. Each step representing life or death… In this town of sorrows, agony surrounded by walls of hatred and evil, I encountered the most extraordinary beings in this world. They are genuine people, without hatred; people who survive inside the walls of a besieged city, without electricity, fuel, food, water, etc. Sarajevo became the massacred city where every new day is awaited as a miracle; awaited with patience and disbelief that you are still alive. There was a light that continued to glow from this destroyed city and its people; they had not lost their spirit. Exhibitions and concerts were still being attended by people who shed the tears of happiness, knowing that they couldn’t kill the art. A horrifying beauty was born.

Intensely preoccupied with exploring light at edge of shadow,

Picture is based on light and darkness counterpoints,

With elements of Chiaroscuro,

Observation of physical and psychological reality,

Acutely observed realism brought a new level of emotional intensity,

Strong, dramatic expression,

Perception beyond Appearances,

Symbolism, POETIC TransRealism;

Perception beyond the Veil, including the veil of religion;

‘The true light came to the world and resided in the world,

And the world did not understand it,’

MIRZA AJANOVIC Fine ART Photography,

My first visit to MRL in 2015 I remembered seeing a flame cut whistle post on the mainline somewhere east of Garrison. We (Welch and I) had places to be seeing as we were racing towards Helena to get the local with an SD45 leader and I didn't remember seeing another one. I didn't prioritize it but I didn't forget it. So, since my experience on MRL's branch lines was nonexistent until this spring I had assumed that was a one-off. Imagine my surprise as I arrived at Sappington and saw another one freshly painted!

 

The next day was Harrison Day for the Logan local. I figured it would be a pretty easy job to pick shots on a 10mph line but then I got out towards Harrison and there were 4 things I wanted to do within a mile or so of one another! Some aggression got me this neat dark-sider of a flame cut whistle post with mountains and the train climbing one heck of a grade and I'm pretty happy.

Las Vegas International Lingerie Fashion Show

 

Right click link. Select "Open in New Window"

 

www.youtube.com/watch?v=GGPAv4TzBlc

 

this is all so shameful and downright evil ("like walking through hell") - i just had to bring attention to it. enjoy!

Soo Line and CP Rail-schemed units lead a westbound freight east of Columbus, Wisconsin on June 26, 1994. My note taking was nearly nonexistent during my first few years of photography and my memory has faded considerably since. I called this the auto parts train as I believe much of the cargo was destined for the Ford plant in the Twin Cities. Perhaps someone can provide more details.

Shifting our view slightly to the right, here's a look down one of the store's actionways from the front left corner down to the back left corner. (With the number of actionways in this store, I don't think I'm even going to bother trying to name them “left actionway,” “right actionway,” etc. this time around, haha!)

 

The electronics desk is hidden on the extreme left of this view (behind those TV boxes), with the (probably nonexistent, at least in regards to its latter half) cameras and film department beyond that. Cards and party are on my right, with both home office and home improvement following suit.

 

(c) 2018 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 :)