View allAll Photos Tagged paul-jaisini,
stellywrites.blogspot.com/2014/07/stelly-on-beach-gif.html Her striking beauty turned heads instantly, evoking endless stares (yes, heads WERE turning and people looked at me like a little girl lost who mistook the gallery for a pool party). She felt utterly misplaced amidst a bemused, absynthe-infused crowd growing restless by the minute, for there was no prince in sight to entertain his guests. The absynthe, I must add, was a brilliant idea to keep a riot from breaking. GENIUS!! stellywrites.blogspot.com/2014/07/stelly-on-beach-gif.html
One would wonder what would the new level of “realism” add to the process of “seeing” An entirely different matter would be how the exact copy of reality could benefit a human image and what sort of image would be fit to be “worthy” of such exact real copy on paper or video. (obviously even 3-d copy which is not very essential to the question) In such copy with most advanced process who would look good. For instance over decoration… for such occasion one would think that since the “copy of reality” shows every microscopic detail, than the more decorative details there would be to record the better… So if the reality record Internet is now called WORK. People “working” and believe in it very strongly. since their work involves RESEARCH and digging in deep waters of “knowledge” wanting to acquire full and complete information on their research topic. The need for full and complete information is really overpowering that is why doing it feels like WORK. Those who had been there understand how bad it is. The Style researchers want to find the precious INTERNET worthy “art”. People get trapped on the internet without “a warning” that internet would serve you right if you use it for REAL WORK - it is priceless for the amount of info one gets for instance I found all matches on the current topic of INVISIBLE and invisibility. If it wasn’t for the internet I wouldn’t be writing this now as I wouldn’t know about the wide spread phenomena and popularity, but the “discovery” made me realize the connection of social phenomena to visual art that is important when nothing in visual art really connect to the vast unknown dimension of “real people” Again if it wasn’t for the sources available on the www where people supply and share info I wouldn’t be able to put together Invisible art of Paul Jaisini that arrived on the www in 1998 and the current state of human condition. Once something suits your taste you don’t feel any reservation about sharing it or just using as your “own” photo or idea. But the idea spreads and if you find ton of matches with variations of how your subject for instance Invisibility is in active use you can deliver really well-grounded analysis and know more than anyone on the topic.
Paul Jaisini creates invisible paintings. You gotta not see it to believe it! Art by Gleitzeit International Group © All Rights Reserved.
paul-jaisini-arts:
““Paul Jaisini creates invisible paintings. You gotta not see it to believe it!
Paul Jaisini creates invisible paintings. You gotta not see it to believe it! Art by Gleitzeit International Group © All Rights Reserved.
paul-jaisini-arts:
““Paul Jaisini creates invisible paintings. You gotta not see it to believe it!
AVATAR 3 INTERGALACTIC EARTH LIVE PLANET DATE 13430070620840 AD EARTH DEAD PRECONCLUSIVE DATES 9000 B.C UBER
GIG NYC 2014 ARTWORKS FROM THE SERIES HOMAGE TO PAUL JAISINI INVISIBLE PAINTINGS FROM 1994.
“HOMAGE TO PAUL JAISINI INVISIBLE PAINTINGS FROM 1994” IS A NEW ART COLLECTION OF UNIQUE ARTWORKS FROM THE SUPREMELY GIFTED YOUNG TALENTS. THE SPECTACULAR NEW ARTWORKS, WRITINGS, ANIMATED GIF SERIES AND DOCUMENTARIES ARE INSPIRED BY THE STORY OF PAUL JAISINI, THE GENIUS PAINTER AND NEW YORK LEGEND, 20 YEARS AGO HE DESTROYED ALL OF HIS BEAUTIFUL ARTWORKS. EVER SINCE PAUL JAISINI PAINTS THE ENIGMATIC INVISIBLE PAINTINGS. THE ONGOING ART PROJECT UNDER META CATEGORY IS TITLED: “ART ABOUT ART”
Turquoise, Ocean, Water, Electric-Blue, Tiffany-Blue, Aqua, Aquamarine, Sapphire, Blue-Topaz,
Selfless Art -- could solve many issues that really are IMPOSSIBLE to solve. Once you engage in the praise of other person - not yourself - you are in a process of growth and not self-absorbed isolation with its obvious side-effects of getting less growth that could only come from the outside source.
Steampunk is a subgenre of science fiction or science fantasy that incorporates technology and aesthetic designs inspired by 19th-century industrial steam-powered machinery.Although its literary origins are sometimes associated with the cyberpunk genre, steampunk works are often set in an alternative history of the 19th century’s British Victorian era or American “Wild West”, in a future during which steam power has maintained mainstream usage, or in a fantasy world that similarly employs steam power. However, steampunk and Neo-Victorian are different in that the Neo-Victorian movement does not extrapolate on technology and embraces the positive aspects of the Victorian era’s culture and philosophy.
Steampunk most recognizably features anachronistic technologies or retrofuturistic inventions as people in the 19th century might have envisioned them, and is likewise rooted in the era’s perspective on fashion, culture, architectural style, and art. Such technology may include fictional machines like those found in the works of H. G. Wells and Jules Verne, or of the modern authors. Other examples of steampunk contain alternative-history-style presentations of such technology as steam cannons, lighter-than-air airships, analogue computers, or such digital mechanical computers as Charles Babbage’s Analytical Engine. Steampunk may also incorporate additional elements from the genres of fantasy, horror, historical fiction, alternate history, or other branches of speculative fiction, making it often a hybrid genre.[citation needed] The first known appearance of the term steampunk was in 1987, though it now retroactively refers to many works of fiction created as far back as the 1950s or 1960s. Steampunk also refers to any of the artistic styles, clothing fashions, or subcultures that have developed from the aesthetics of steampunk fiction, Victorian-era fiction, art nouveau design, and films from the mid-20th century. Various modern utilitarian objects have been modded by individual artisans into a pseudo-Victorian mechanical “steampunk” style, and a number of visual and musical artists have been described as steampunk. Superficially, steampunk may resemble retrofuturism. Indeed, both sensibilities recall “the older but still modern eras in which technological change seemed to anticipate a better world, one remembered as relatively innocent of industrial decline.” One of steampunk’s most significant contributions is the way in which it mixes digital media with traditional handmade art forms. As scholars Rachel Bowser and Brian Croxall put it, “the tinkering and tinker-able technologies within steampunk invite us to roll up our sleeves and get to work re-shaping our contemporary world.” In this respect, steampunk bears more in common with DIY craft and making. Aspects of steampunk design emphasise a balance between form and function. In this it is like the Arts and Crafts Movement. But John Ruskin, William Morris, and the other reformers in the late nineteenth century rejected machines and industrial production. On the other hand, steampunk enthusiasts present a “non-luddite critique of technology”. Various modern utilitarian objects have been modified by enthusiasts into a pseudo-Victorian mechanical “steampunk” style.Examples include computer keyboards and electric guitars. The goal of such redesigns is to employ appropriate materials (such as polished brass, iron, wood, and leather) with design elements and craftsmanship consistent with the Victorian era, rejecting the aesthetic of industrial design. Steampunk fashion has no set guidelines but tends to synthesize modern styles with influences from the Victorian era. Such influences may include bustles, corsets, gowns, and petticoats; suits with waistcoats, coats, top hats and bowler hats (themselves originating in 1850 England), tailcoats and spats; or military-inspired garments. Steampunk-influenced outfits are usually accented with several technological
and “period” accessories: timepieces, parasols, flying/driving goggles, and ray guns. Modern accessories like cell phones or music players can be found in steampunk outfits, after being modified to give them the appearance of Victorian-era objects. Post-apocalyptic elements, such as gas masks, ragged clothing, and tribal motifs, can also be included. Aspects of steampunk fashion have been anticipated by mainstream high fashion, the Lolita and aristocrat styles, neo-Victorianism, and the romantic goth subculture. In 2005, Kate Lambert, known as “Kato”, founded the first steampunk clothing company, “Steampunk Couture”,[60] mixing Victorian and post-apocalyptic influences. In 2013, IBM predicted, based on an analysis of more than a half million public posts on message boards, blogs, social media sites, and news sources, “that ‘steampunk,’ a subgenre inspired by the clothing, technology and social mores of Victorian society, will be a major trend to bubble up and take hold of the retail industry”.
Post-apocalyptic
Mary Shelley’s The Last Man, set near the end of the 21st century after a plague had brought down civilization, was probably the ancestor of post-apocalyptic steampunk literature. Post-apocalyptic steampunk is set in a world where some cataclysm has precipitated the fall of civilization and steam power is once again ascendant, such as in Hayao Miyazaki’s post-apocalyptic anime Future Boy Conan (1978),
where a war fought with superweapons has devastated the planet. Robert Brown’s novel, The Wrath of Fate (as well as much of Abney Park’s music) is set in A Victorianesque world where an apocalypse was set into motion by a time-traveling mishap. Cherie Priest’s Boneshaker series is set in a world where a zombie apocalypse happened during the Civil War era. The Peshawar Lancers by S.M. Stirling is set in a post-apocalyptic future in which a meteor shower in 1878 caused the collapse of Industrialized civilization. The movie 9 (which might be better classified as “stitchpunk” but was largely influenced by steampunk)[82] is also set in a post-apocalyptic world after a self-aware war machine ran amok. Steampunk Magazine even published a book called A Steampunk’s Guide to the Apocalypse, about how steampunks could survive should such a thing actually happen.
Video games
A variety of styles of video games have used steampunk settings.
The Chaos Engine (1993) is a run and gun video game inspired by the Gibson/Sterling novel The Difference Engine (1990), set in a Victorian steampunk age. Developed by the Bitmap Brothers, it was first released on the Amiga in 1993; a sequel was released in 1996.
The graphic adventure puzzle video games Myst (1993), Riven (1997), and Myst III: Exile (2001) (all produced by Cyan Worlds) take place in an alternate steampunk universe, where elaborate infrastructures have been built to run on steam power. The SteamWorld series of games has the player controlling steam-powered robots.
Both Thief: The Dark Project and its sequel, Thief II are set in a steampunk metropolis.
Guns of Icarus Online (2012) is multiplayer game with steampunk thematic.
Some have proposed a steampunk philosophy that incorporates punk-inspired anti-establishment sentiments typically bolstered by optimism about human potential.
Steampunk became a common descriptor for homemade objects sold on the craft network Etsy between 2009 and 2011,[citation needed] though many of the objects and fashions bear little resemblance to earlier established descriptions of steampunk. Thus the craft network may not
strike observers as “sufficiently steampunk” to warrant its use of the term.
#gleitzeit steampunk art image #gif#art gif#gleitzeit gif#Paul Jaisini
File size: 26.45MiB, width: 718px, height: 768px, frames: 90, type: gif
Selfless Art -- could solve many issues that really are IMPOSSIBLE to solve. Once you engage in the praise of other person - not yourself - you are in a process of growth and not self-absorbed isolation with its obvious side-effects of getting less growth that could only come from the outside source.