#i know i butchered it but i literally am obsessed with this short animation. have been for awhile and I'm tired of not being insane about it

[silverbackwolf14]

He's just a little guy

[rebrandedbard]

A little drabble exchange for @theamazingbard that accidentally became more of a ficlet. Threw in a little hispanic nursery rhyme since I don’t know if we have them in english for making pain go away. I tried googling but it was unhelpful. 

TW: Descriptions of blood, drinking it, gross stuff like that. Canon-typical wounds. References to drinking and inebriation.

WC: 2617

Lips Black as the Rose

Featuring highervampire!Jaskier as he tries to figure himself out after being turned. A bit of spice in there. Am I picking and choosing parts of the lore as I see fit? Yes. Is it very sexy of me to do so? One hundred percent. Will I beta this before posting? Oh absolutely not, you know the drill. ‘No beta, we die like men and get our shit wrecked in the comments’ is my go-to Ao3 tag for a reason.

-

Under no circumstances would Jaskier ever cause harm to another living thing, but the world did not reciprocate that exact philosophy. He’d been chased and held at the business end of many a sword, dagger, lance, and—on several unfortunately memorable occasions—a startling variety of available flatware. Things were rougher after meeting Geralt and having his usual human pursuers overshadowed by the threat of monsters.

Where once a spoon in the hands of a rabid duke would seem a most threatening opponent, Jaskier now found himself on the run from a more literal array of rabid beasts, and he could quote the running speeds the prove that having an extra pair of legs did indeed give certain monsters a leg up, so to speak, on the competition. But then, having no legs at all could prove a better advantage, and such creatures as those often had the additional advantage of long, venomous teeth.

Suffice to say, it was a difficult thing to be a lover in a world of fighters. Particularly when one falls into the company of another presumed lover, only to discover that their invitation to dinner was, in truth, an invitation to be dinner.

A vampire. Young, wine drunk, and foolish, Jaskier allowed himself to be led into the vampire’s den. It had been many years ago, he no longer remembered the details. He only remembered a sharp pain on his shoulder, followed by a woozy numbness, and he awoke in a strange bed, in an inn he did not check into, with his reflection missing from the mirror. He’d run away from home shortly after, fearing a bloodlust that was never to come.

It was a strange thing, being a vampire. After months of research, Jaskier came to no conclusions as to what it meant to be one exactly. He experimented with the content of old myths, touching silver very cautiously, taking delicate bites of foods prepared with garlic. He could cross a river just as well as any man. All in all, there was not much wrong with him, and he wondered what all the fuss was about. Well, there was a bit of fuss in that he could no longer be sure of his appearance, and he’d become more vain than ever, relying on the opinions of others to assure him that he looked presentable. This was a particular bother where Geralt was concerned, for he rarely paid compliments—if ever—and was not inclined to offer opinions concerning such trifling things as fashion or appearances.

Jaskier felt sure that Geralt would have noticed right away, but when their paths crossed again, Geralt seemed entirely ignorant of Jaskier’s dramatic change in biology. Running his tongue over his teeth, he could find no fangs. People complimented him on his eyes, still cooing over how bright and blue they were; and he’d been so afraid they’d turned a ghastly red as in the stories. From what he could tell, he appeared human. He had no violent urges to drain the blood from red-cheeked virgins, nor had he transformed into a bat and flown into the night. Sunlight only burned his skin as much as it had before, though it might have been harder on his eyes. He found himself squinting more in the afternoon, and it was unpleasant hot at times.

All in all, he was relatively normal.

“Such beauty ought to be preserved evermore.” That was what the vampire had told him that night. A great favor, immortality, but he wished he might have been offered a list of instructions to go with it. Figuring things out on his own was exasperating. And though he was not quite compelled to drink blood, there were times when he was … drawn. By curiosity.

When Geralt returned from a hunt, his flesh torn and body bleeding, Jaskier found it challenging to tend his wounds. Many times, he’d almost given into temptation. It did not help that he’d wanted to know the taste of Geralt’s skin long before the transformation. Now, there was an intoxicating layer to the fantasy, and the smell of Geralt’s blood made him hazy, like the bouquet of a strong wine. Or more realistically, the cloud of bitter vodka. If it had been a particularly nasty fight, Jaskier was sure he could taste Geralt’s blood by the smell alone, so powerful it made his nose wrinkle. He could get drunk on the fumes, and it was not always so pleasant.

He never dared try. There were too many things to consider. For a start, there was no telling what the blood of a witcher would do to him—and that was before factoring potions into the equation. Having never fed of blood, Jaskier did not know how his instincts would react, and he was sure he had some animal instinct to him now. He might drain Geralt dry in a matter of minutes, or the taste of blood might make him go insane and start tearing at his surroundings like a mad beast! Or, simplest and frightening of all, Geralt might kill him. So Jaskier kept his secret, never giving in to his curiosity.

But one day, he’d slipped.

“Fuck,” Geralt grunted. He clenched his hand and a sharp smell pervaded the air. In sharpening his sword, his hand had slipped. He’d cut the meat of his palm, just above his wrist.

Jaskier was up at once, Geralt’s bag in hand, ready to wrap the wound. He was very quick these days in getting things bundled up as soon as possible. Once the wounds were wrapped, the smell was not as pronounced. He fished out a strip of cloth and had it round Geralt’s hand in a matter of moments, working efficiently with good practice.

Geralt smiled ruefully. “A clean wound, at least. Should stitch itself up by morning.” He chuckled and inspected the wound, his eyes flicking over to Jaskier. “Haven’t done that since I was a child sharpening my first dagger,” he said.

“Did you cut yourself often in training?” Jaskier asked.

“No, not so often. We didn’t waste wrappings on such small scrapes either.”

There was a distracting shadow of red seeping through the cloth. Jaskier scoffed. “So you let it bleed into the open air, did you?”

“We were less inclined to coddle than humans.”

“Coddle?” Jaskier said, raising an offended hand to his chest. “My dear, a dressing is hardly evidence of coddling. If I wished to coddle you, I’d kiss it better and sing a little chant.”

Geralt presented his hand to Jaskier, smirking humorously. “Then do it. I’ve never heard of humans having such power as to kiss wounds better. Would save me a lot of trouble.”

“Erm … ” Jaskier flushed, considering the proffered wound. He nearly made a joke about lacking such power, being no longer human, but he bit it back. To cover his hesitation, he took Geralt’s hand and gently sang the rhyme his nurse used to calm him after a scraped elbow or knee. His tongue rolled musically as he rubbed the dressing carefully. “Sana sana colita de rana, si no sanas hoy, sanarás mañana.” Then he bent his head down to kiss the place.

“I don’t see what frogs’ tails have to do with my hand,” Geralt joked.

But Jaskier did not hear him. Instead, he felt oddly fixed in place, a metallic tang on the tip of his tongue. He opened his mouth slightly, closed it, and licked at his bottom lip to chase the memory of the taste. As he did, his tongue scraped the end of a long, pointed tooth. He stumbled back unsteadily, muttered his excuses, and fled to the safety of his bedroll across camp. There he sat, writing nonsense in his notebook as though struck by sudden inspiration.

He’d tasted Geralt’s blood. And now he wanted more.

The next few hunts were blessedly without injury. Jaskier found he was able to breathe again. It twisted his gut whenever Geralt went off to fulfill a contract, and his conscience was at odds with this new obsession. He wanted Geralt to come back whole and unharmed. But he wanted some cut, some smallest scrape upon which to lathe his tongue. When he thought of it, he felt a stirring in his gums, and touching the place, he found the fangs had grown in again. It took concentration to hide them again. He took to smiling with his mouth closed after the first incident, and he developed a habit of biting his lips.

When they came to a larger town, Jaskier went straight to the butcher. To quell his growing need, he bought fresh meat, sneaking a sip from the blood dish beneath the draining sheep’s carcass while the butcher’s back was turned. It had the strangest effect on him. Within minutes of leaving the butcher’s shop, he felt light-headed. He felt drunk, in short, and he wobbled his way to the inn, a giggle in his throat.

For dinner, he asked the potmaid to send the loin to the cook and surprised Geralt with it: a small treat to celebrate his recent hunting success. In truth, he wanted nothing to do with it, festering in the shame of his lie. The loin had merely been an excuse: something to keep the butcher busy while he drank his curiosity like some writhing leech dredged up from the water.

It made him drunk. He made note of it in his book and swore that would be the end of things. This odd affair made it easy to forget, his stomach turning in guilt and disgust at the thought of repeating the act. He was fine and healthy without blood, therefore there was no need to partake. He could go the rest of his life perfectly happy never drinking another drop. Until the day it fell from Geralt’s lip.

Jaskier stared at it from across the room. Geralt had just returned from a fight, his eyes and blood black with potion. His armour was scratched up, covered in foulness from monsters unknown, but he was alive and whole, hardly bruised. Jaskier tried to focus on the smell of the guts dripping from his armour. It was still as disgusting as ever, even with vampiric senses to influence his opinion. The wretched blood was still unappetizing. But above it, he smelled a strange scent: sweet, a touch of iron. And there, shining on Geralt’s lip, the wet glisten of blood.

He swallowed hard as Geralt wiped the cut on the back of his hand. The blood smudged along his chin, all the more enticing. His knuckles turned white on the sheet of his bed as he held himself in place. Ordinarily, he would be up on his feet to help coax Geralt out of his armour by now, but he did not trust himself to be so close.

Geralt shed his shoulder pads, looking at Jaskier from the corner of his eye. “It’s a bit slippery,” he said. He inclined his head, beckoning Jaskier over. That was their way. They did not ask things from one another. It was simple routine, and the brief lapse was something awkward to acknowledge.

What excuses could he provide? Jaskier stood on trembling legs and made his way, biting his own lip to hide the fangs he felt beginning to grow. His fingers were clumsy as he fumbled with the clasps, far too close to Geralt’s face. His breath caught, watching a bead of dark blood roll down his lip, over his chin. His lip was stained black.

Geralt had always had nice lips, Jaskier felt. He was always reminded torturously of this fact when he helped Geralt out of his armour. How could one undress such a man without indulging in the fantasy of what came after, even a little? But oh, it was a dangerous line of thought. Now he was bewitched by his senses, his focus single-mindedly drawn to that point on Geralt’s lip. To kiss him now, to lick the blood from his lip—it would be divine. He felt his heart beat faster at the prospect, his hands stalling to unbuckle Geralt’s breastplate as he stared. Just one taste. One kiss was all he wanted.

A hand pressed against his chest, stopping him short. Jaskier startled out of his unconscious reverie and looked at Geralt in horror. He hadn’t—! Had he? His attention flicked between Geralt’s eyes and his lip, and to his relief, the blood remained untouched.

“Not just now,” Geralt said, voice rumbling in his chest. “The potions might paralyze you—at least for a day. Anything lesser would die from a drink of it. It turns my blood to poison.”

Jaskier blinked, edging back. “I … don’t understand your meaning,” he feigned.

Geralt followed him, stepping forward. He raised a hand, caressing Jaskier’s cheek gently. “I know,” he said. “You’re not the best at keeping secrets. I noticed some time ago you stopped aging, and there’s no shadow at your feet, even on the brightest afternoon.”

He swiped his thumb over Jaskier’s bottom lip. Jaskier gasped, his lips parting, and Geralt pushed in. Then, his thumb was pushing Jaskier’s top lip away, revealing a glistening fang. He nodded, satisfied, and stepped back once more.

“You’re a vampire,” Geralt said. “And not a common one either. My medallion doesn’t react to you at all.” He chuckled and added, “As if you could be common by any measure.”

Jaskier turned away, picking up one of Geralt’s shoulder pads. He clutched it to his chest, whether for protection or for comfort he could not say. “I’m sorry,” he whispered. “I was afraid to tell you … afraid what you might say. What you … might do.”

A warm hand smoothed down his arm comfortingly. There was a teasing quality to Geralt’s voice when he spoke. A hand wrapped around Jaskier’s waist, making him nearly jump in surprise.

“In regards to what: the knowledge that you’re a vampire, or the knowledge that you want to kiss me?” Geralt asked, words hot against Jaskier’s neck.

Jaskier shivered, the adrenaline of his fear quickly turning to something sweeter. “Both,” he sighed. He closed his eyes, trying to focus, to understand Geralt’s intent.

“You cannot drink of me tonight,” Geralt whispered, “but I can satisfy that other hunger, if you only have the discipline to keep your teeth to yourself.”

“What are you saying, Geralt?” The way Geralt’s hand slipped lower and lower down his front, Jaskier thought he knew. Even so …

Geralt chuckled, nose pressing to the back of Jaskier’s neck. “I’m saying I’m tired of the way you look at me like a man starving and refuse to do something about it. It’s gotten worse. It was bad enough before, waiting for you to make your move, but since your turning, it’s insufferable. I feel like the centerpiece of a banquet, waiting to be devoured.”

“You said I couldn’t kiss you,” Jaskier said, breath coming up short as he felt himself pressed back against a firm chest, a second hand coming up to tug at the edge of his chemise. “I have no discipline whatsoever. And you know that.”

“Well then.”

Jaskier dropped the plate of armour as he was pushed backward. He fell, his knees caught by the edge of the bed. Arms caged him on either side, and above him. Geralt smiled, a drop of blood falling onto the sheets below. He pressed his thumb to Jaskier’s mouth once more, something ravenous in his eyes.

“Well then,” he repeated. “Looks like I’ll have to devour you instead.”

[luluuu-blog]

P.Jaisini-smiles-GIG-NYC2015

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,

Posted by E_Y_K_G on 2015-03-28 04:43:10

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