The Book of Mummy

The Gloss of Denim Birdhouse

Thu, 17 Jul 2025 03:24:10 +0000

wrong tanka

Sat, 28 Jun 2025 23:01:48 +0000

Hookah Date

Sun, 18 May 2025 02:14:51 +0000

birthdangziety

Wed, 14 May 2025 02:38:32 +0000

33,259 photos in my camera roll at the moment. consists of mostly of photos taken from 2022 to present. i sat down with the intention of going over a year in photos. when i got back to this day in 2024 i scrolled back in time a few days, then forward some, and quickly became overwhelmed. put this all into a story? impossible. it is too tangential, too many eddies, undercurrents. i would need so much more computational power and emotional endurance than i have access too. I see so many photos i never shared, so many great ones in there. And theyre all attached to different threads of ideas and moments, many of which, though simultaneous, are disparate. When i so seldomly and suddenly decide to look over my shoulder, like on a birthday’s eve such as this, i shudder at the imensity. impossible to try to recapitulate, reorganize, regurgitate, re-present. Yet the urge persists. Look at all i’ve seen! All that i didn’t show you in the moment, all that i kept to myself, all that we could have seen together. I need you to help me look at it now. the future is a vantage from which to see things: hold it a little farther from your face and it’ll come into focus. Things that seemed salient then, don’t now. The raw material moves me more from here, more than how it did when i processed it then. And yet that’s only because i now see another use for it, another way to process it, a process itself i might repeat next year, seeing a “better” way for it then, too, again. Let me not get trapped in these bogs of (active non-)thought— they convey nothing, preserve nothing. But this is an exhumation, nevertheless. an excavation, some archeological gesture or another. Look at all i’ve seen, share it with me, i want to share it with you. I shouldn’t let it pile up. I ought to let things fly out as they happen, without explanation, or without becoming overwhelmed by my own metadata and context. Posting the deli cat was both a personal joke about the imensity of all i’ve seen and collected, a laugh in the face of the impossibility of sharing the important things, as well as a gesture of good faith in the importance of sharing things at all, and having somewhere to put it where people can see it, so they can take what they can, and leave what they will. Part of the fear is the accumulation of filth. Though I act as a sieve, I can’t sift through it for you. It’s there for you to mine though, and i trust in your ability to take what you need, to find the gems, to use what nourishes you. And i should be able to trust my own filter, but don’t always. Just to do it, regardless of high promises, that must be the trick. I’m reminded of some of the platonic baggage in my implicit commitment to (classical) ideals, even those hidden in revolutionary ideologies, like bauhaus for instance. But this is an unreal worry, so let me not prate on about all that. Good design should enhance the lives of others, and there’s no need to capitalize any of those words. Just assume none of my words are capitalized, even if they are. It is neither an intellectual nor a material affair, but simply an integral part of the stuff of life, a necessity. JUST ASSUME THAT IT IS GOOD AND NECCESSARY. And never look for proof, for neither confirmation or otherwise; there’s no use, for you’ll never find any proof of anything but the activity itself; that’s the switch from proof to evidence. what is important is just to do the thing, show it (as it happens), and that’s it. The real work is the activity, but the work you see is the record of activity, thus the work becomes the trail left in my wake (turbulence), the refuse, (fools)good, lusterless, shiny, value implicit, value no matter. It's my life / It never ends (it never ends). records of moments diffuse with formal questions, extensions of surfaces and their depths. succumbing to the picturesque like a guilty pleasure, in any traditional medium like landscapes (pictures of barns and fields upstate), portraiture (which i did a fair amount of this year, collecting and analyizing influences examples, absorbing practical education, getting my own experience. This has been an unexpected interest of mine, though it has been there. I did a monotype of a female face for a printmaking class at CCC&TI around 2015 and i never let go of that feeling. But for me ultimately its another exercise in looking, analysizing a surface, and participating in a tradition; doing it just to say i can. My aspirations as an artist are totalizing in scope, with an aggressive competitive urge; my attitude; there’s nothing i cannot do. And part of the demand has been to examine and relinquish conventional linguistic sense making strategies. At worst, this has cost me some real thinking. At it’s best, it has opened the way. resisting the lapse into automatism and dealing with what’s there, rather than my idea of what is there. Bracketing the ruse of immediacy, diverting large streams by digging small channels, at times with the fervor of a border collie. words as a corrosive force, susceptible to corrosion themselves.

By Clear Snakes

Mon, 12 May 2025 00:42:35 +0000

Arrogant Yellow Crayon

Mon, 12 May 2025 00:41:57 +0000

A curved arrow of blood

Shovels betrayal across a red felony

Stars in clouds hanging.

From id forebrain

Alchemical trombone train station

Postbox tigerbox paperback.

Arrow crescent crescent

Crescent cripple crocodile crocodile

Crocodile crocodile.

Castle withdrawn from nose

Rooter’s nose a lizard teacup

A cow face double.

Bubble buddha principal:

A kindergarten looking map

for the sponge owl night plunger.

Here is a god face with a round grapevine

A plant sign undergoing a minute fragrant cyclone

White milker violin operation.

Orphan palms flower blockade

Ancestral evil in fluids

Tearing tearing tearing.

Yesterday’s medicine

Is tentative as a speech balloon

For popcorn nesting dolls.

Tentacle ears button

Blue sound to the air as a gift

Only for beginners.

From heaven and refreshing

As an arrogant yellow crayon

Horse plot is cloud height.

Orangutan ballet tree

The modern anniversary

Of the comet arts video.

And her golden necklace

In lord umbrella cowboy union

The trademark registration.

Human inability

An inaccessible vegetable plate

Spiral monkey path.

Man utility

Vehicle bomb unexploded

Calendar spider.

Man Utility Vehicle Bomb Unexploded Calendar Spider.

マンユーティリティビークル爆弾不発カレンダースパイダー。

And crescent crescent

Moon goddess of liberty

Kitchen knife white square.

And a crescent moon, a crescent moon, the Statue of Liberty, a kitchen knife, a white square.

そして三日月、三日月、自由の女神像、包丁、白い四角。

Great telephone receiver

Telephone arrow cat heart

Fickle anger outburst.

Awesome receivers, phone arrows, cat hearts, whimsical rage bursts.

素晴らしい受信機、電話の矢印、猫のハート、気まぐれな怒りの爆発。

Button blood and private

Fast running as woman blowfish

Storm incomprehensible.

The storm of blood splattering the buttons and the heavy breathing of the woman's private parts is

incomprehensible.

ボタンに飛び散る血の嵐と女性の陰部の荒い呼吸は理解できない。

Elephant face with

Rolling rain play or stolen

Metamorphosis.

The elephant's face, wet from the pouring rain, creates a sense of playfulness and change.

降り注ぐ雨に濡れた象の顔は、遊び心と変化を感じさせます。

Between The Links In The Lemon Chain

Sat, 03 May 2025 03:37:48 +0000

A NEW REGIME OF LISTENING

Fri, 18 Apr 2025 02:40:05 +0000

予測可能性の前例は、それ自体のために決して訴えられるべきではない。

The precedent of foreseeability should never be appealed to for its own sake.

予見可能性の判例は決してそれ自体のために訴えられるべきではない。

The case of foreseeability should never be appealed to for its own sake.

予見可能性のケースは、それ自体のために訴えられるべきではない。

The case of foreseeability should not be pleaded on its own merits.

予見可能性のケースは、それ自体のメリットに基づいて主張されるべきではない。

The case of foreseeability should not be argued on its own merits.

予見可能性については、それ自体のメリットに基づいて議論すべきではない。

it's always a painting

Fri, 18 Apr 2025 02:38:56 +0000

randomized lines from a transcription of the video Art & Flatnixing #16 – Raoul De Keyser

“Masterclass #16 by Hans Theys about some paintings by Raoul De Keyser, presented in his studio by his son Piet. Filmed on May 24th 2020.”

probably of hooker green or another very dark green before it was finally covered

and several layers of clouds

but a kind of functional one resulting from

covering it with a transparent layer of yellow or several transparent yellows of greenish yellow and to the right

whereas as i said it came into existence through the attempt to cover a

this beautifully is beautifully executed exquisite meeting

different colors now i discovered very very beautiful

came into existence maybe as a reparation as we have seen

and in this early work we recognize one of the major

the work of raoul de keyser or happens

it's today or never show you this painting look at this tiny

it's always a painting

we see the importance of the

then again seemingly underneath or on the border of the gray

actually it means ralph the emperor but in belgium we just call him raoul the kaiser behind me you will

next to a red spot

soccer and him being [Music]

purpose a paint which is too thin to really cover the paper so the the

um or maybe did not leave it empty but he first painted the black

brush strokes reinforcing it the green

i'm going to shut up now it's too ridiculous also here

recognize a monkey puzzle tree um which has served as a subject in numerous of his

and on the border of the painting we see that it must have contained a layer

greenish very light gray stripe between the edit white stripe

tiny tiny green stained whole green purple red

you look at the image in its totality the painting and its authority because you are inclined to read a kind

paintings

they remind us of a sky and not because it's blue but because

bottom part of the painting as we saw in the painting by diamonds

an apparent monochrome constituted of lots of stains of

goes almost to the upper left corner very light again very beautiful very

in this work we you will immediately now recognize

it's a beautiful exercise in lightness

it became the painting itself came into existence as an exercise trying

the choice of the non-treated canvas here we see two

you

which we can see here maybe to the right consists of repeated attempts

and which originated of course in um his son's playing

of the fields the blue field itself which

it's an original it's gouache says um

cover it so a repeated

that the paper depending on paper originally has been green as well

of them pete did i see all of them a pixel magazine

i dropped

putting down a brush stroke in this case for example we see how he left the original canvas empty

impossible to fit that get thinner when you

been added to the black shapes in the beginning and we see a completely different treatment of the

it again originates from the early attempts

we needed a dark background to be able to film it

also in the sky one might discover lots of blues at the same time

in the very first work which we could not see you see the surface has not been filled

he was a true gentleman cultivated librarian a reader an avid reader and

evoking the image of a doorknob and a very very subtle one here

vertically apply and create a kind of missed form

paint impossible to film

green

thank you peach it's also extremely beautiful also get into it

to close the painting so to cover the paper

get higher and here it becomes very thin like a spiderweb almost and it

and the painting itself is executed in a color that looks like black that is

corners apparently i can't shut up

at the foot of the dust of the figures on the tiles of delft and as we saw the bottom

application of these layers is the only way to cover the canvas

the patient father along the field i imagine or impatient anyway

trembling black line and it's also different from the yellow one here and the black

covering and unveiling each other

at the bottom and this painting of course as i said earlier but maybe i can stress

in it and not a reflection upon painting which it is and it is so

and how it trends pierces here

decisions have taken place here

yes i wanted to come back to make sure we saw that the canvas has not been treated

three doorknobs

such as trying to cover the fear has steered

exactly

we saw the darker

shape we see a doorknob there

here in 98 to think about stripes and how to cross a painting with

of um image or composition

and the word field of course refers to a subject matter that

a stripe and earlier with

which has been constituted with numerous colors blues greens

adding an even thinner layer of white on top of the surface that appears

non-painted canvas next to it

welcome to our series flat mixing around art for our 6th master class dedicated to

greenish turquoise like blue then it has been covered with thin

we see why this might have been interesting because it immediately invites to paint the geometrical

does not really exist um it's always an assembly of dots

of the tea painting by walter swennen also here we see an apparent monochrome

okay

it is very very very light

but i will try to describe it anyway it's a work on paper

carefully if you see what i mean it's applied differently

the pictorial themes i spoke about different

yellow surface there it disappears here very beautiful the thin

blue with darker blue three dark blue four there's a very little one

which are actually the non-painted background

does not touch the border of the canvas reveals what seems to be

it's not applied the same way as this blue border we see here how the blue borders board

these are parts of being applied straightly from the tube here we see drippings

hooker green does not reach the border of the painting totally not on the left

a white treatment of the canvas but i don't think it is because it even leaves a border of

at the bottom of the bottom white stripe you see you cannot see it like this

tender and at the bottom the painting is reinforced by

line between the yellow and the white field

of the painting where it seems to be applied very often i use the word clumsily

came back very often in his works which is soccer

blue and the gray background here this blue corner very beautiful

seven works i see because we see how this movement continues

in the different ways uh raul the geyser suggests the presence of

that were already reflecting about how to go

thank you

thank you it's very very very beautiful again

this field dark dark green field

the painting has been finished with transparent layers

but i did not say this because i wanted to compare the painting to a sky that would be ridiculous

another type of gray here in the corner the gray itself has a green view

i show you the back no thank you

with what looks like several layers of oil paint

maybe we can try like this no that's not possible

painting

with your brush from the left to the right from the bottom to the top how to define a stripe which of course

and then he has added two stripes white stripes oh my god it's

to work on paper and the reflection prevents us from seeing it

the work of the keizer as attempts to create resistance

to um create a hooker green surface on a paper which

attempts repair the weak spots that might have

equally it contains accidents very light

and the tied to this olive yard heavily corrected

other border of the painting where the black or supposedly black stripe probably also

to evoke resistance to prevent him from making let's say an obvious or straight

the coming into existence of this painting not really aesthetical

a little bit yeah

but it's hard and or impossible to film it seems

ways of painting or not painting a stripe or

but today i will be received in his studio by his son pete who will show me some

does not cover or touch what we call the gray background but which has

and we can't see anything we shouldn't

okay. thank you very much it's beautiful

might be pronounced in china or the united states

probably a mixture with hooker green and the construction of the painting

found on foreign

to this one they're both as delicate did i see all

here we also see an apparent monochrome but it consists of a great number of stripes

is very absorbing and prevents the artist who uses on

because mr de keyser used both of them

here we see another work which uses elements we saw before

reverential pronoun when i wrote about him

in this painting it's hard to film green and blue trends pierced yellow

how can i put it not a corner but um the opposite of a corner the curve

and might also be acrylic paint

apparent realistic paintings figurative paintings

one here there are three attempts to as raul

painting came into existence through the repetitive the repeated

three exercises in painting a monochrome three times differently to the left

between these two shades of

the other type of border blue here with the tiny field of empty canvas between the

anyway what we can guess from this image is that you see very tiny white dots

there and then we also see how

but you can see it when we come here here you see that it creates this

using diagonal stripes in the middle making a canvas very dark green and then

i don't know how to put it differently in english it's it seems not to be applied

it's an exercise in green white and very dark green and blue

and we might interpret the

a rectangular very delicately applied cloud

on top of this squeezed out paint this other beautiful accident here

the white stripe here is a kind of choke it suggests the canvas has been treated

and that i was deeply impressed when i met raul decatur for the first time

line or stripe do you see this this black one the black one

it comes back here the white comes back there but not for example here behind the

layers of white in horizontal brush strokes

just because i see skies like this

maybe it's darker in here

also the dark blue edge under the pale blue field

in these tiny accidents this apparition of the red for example

as the background leaving part of the canvas in the background open and then he organized these tiny

background and this green comes back on the border

pictorial themes in the work of the case which you might not immediately see when

it's different from the dark green emerald green one it's different from this hesitating

a straight line on the grass the grass resisted

he told me he was fascinated by a guy who painted the white stripes on the soccer

wow

he's the first artist ever i have referred to [Music] with the reverential pronoun the

it's very very very beautiful painting

in comparison

field and still did so with the big brush and he said while he was trying to paint

and not at the bottom

fields visible brush strokes as if a series of functional decisions

the over of the painter raoul de keyser i don't know how his name

coined it cross the canvas cross the field

appeared trying to cover the paper

almost invisible

shocking absorbing canvas with a paint that is too thin to really

all this stalking and blubbering makes one forget that i always try not to blabber when flying

maybe we can find a trace at the bottom it's maybe here very big

is it a diptych pete because the

green accidents on top of the black stripes here mixed with the supposed background

paintings um raud kaiser left us in

there's also a combination of shiny paint glossy paint and matte

stripe on the right which we have seen is not a stripe but gives it's more like a cloud

this painting presents itself more as an object with a dense structure

here we see an early painting also on paper maybe it's a print is it a print

shape i don't know i'm not sure but i think so and then he painted what we experienced

a thick line do you see the green line here is totally the very green line different

and the supposed background which has been reinforced with a very thin white layer

[green world nail set]

Wed, 26 Feb 2025 03:41:01 +0000