GLEITZEIT INTERACTIVE IX
Stefan: I am the gleitzeitgeist
Wolfgang: I still don’t understand what “Gleitzeit” has to do with
a missionary issue. This word is used only in regard to working times
in a company and means that employees can choose a certain frame when
they want to work.
Mike: After reviewing the essay on Paul Jaisini’s painting
I’ve come to a clear understanding of Gleitzeit. It is the immanence of consciousness in the apparently coincidental combination of details
within the material manifestation
I am the “Drunken Santa”
Marcus: I have found some of the points laid with the ideas
of Gleitzeit interesting the theory of circular evolution of sight and seeing.
Stefan: With visual art we’re obviously dealing with a different
language than our verbal one.That’s what’s nice about visual art.
groucho1: To be a narcissus is to view oneself with unconditional love.
In a mirror, in a pool of water. And in so doing, the narcissus sees both
the male and female that is in all of us, exemplifies: a personalization of Yin and the Yang. No legend there only total truth in the eyes of the beholder.
Generation Invisible: One still wonders how did this happen that
someone wrote back such long comments after the email reached the
unspecified recipient not someone who was known personally to the email sender.
Why a complete stranger who was online on the early Internet of 1997-2000 was willing to engage in the prolonged dialogue about art. Would that be the case in real time, face to face, or in any pre-Internet way of communication?
Mike: The artist’s ideals and his conflicts/interrelationship with practical
hard reality and materials are perhaps at the core of the creative and
Anthony: regarding Talk Show essay I quote: “society is seemingly imploding from its own critical mass.” What does that really mean? If Cicero thought that
society was dumbing down, how do we continue as society? The problem lies in the word continue. There is only the now. There is no past.
Angela: to her email with Manifesto Gleitzeit is most mysterious message
like a moment from Steppenwolf in which a golden door appears where it never existed before.
While I did enjoy reading your essay, and found it rather beautifully written
- I’m puzzled as to why I’m on the receiving end of it – art – critique - spam? how avant-garde… :)
Generation Invisible: In 1997-99 email spam was a hot topic.
The emails with enclosed art essay didn’t really fit the definition of
“true” spam as it didn’t offer any commercial product.
Someone who wrote the above comment had decided that a
“neo-spam” email with art critique was in fact an action
that could be considered in true spirit of avant-garde.
I am interested in your manifesto, but I have a question.
What is wrong with having a beginning and an end?
Generation Invisible: To answer the question “What is wrong with
having a beginning and an end?” that at first might seem rhetoric it
would be necessary to acquire in depth understanding of Paul Jaisini’s
Gleitzeit period and the Invisible Painting period.
Laurent: To me there’s not been a painter since Francis Bacon’s death.
I might be wrong (in a way, i even hope so!), but I deeply think that
this whole contemporary art is but a mirror reflecting in another
millions of images, no content.
Charlie: reMarble Lady essay: My eyes have been opened, suddenly I can see. Some very controversial statements although on the whole a most
absorbing paragraph. I suspect you are the beast who has been watching
me from the unmarked Ford Fiesta which has been parked across the road
for the past 2 weeks.
Suzanna: in reference to Blue Reincarnation Narcissus I have never seen
the painting, but your descriptions of it engendered a vivid mind picture.
It was almost as if I could see it…
Jonathan: in reference to Narcissus. These images you write of I’m
beginning to think maybe don’t actually exist: rather they are figments
of your imagination. You make them up. You write of them and they don’t
exist although they are real enough by how you write of them.
Barb: I had just realized that you are creating the image of the mind,
a topic that a few of my collegues and I had just debated not so long ago.
As with literary artists, they create the image in the mind, so, they are
both visual, and as well performance, as the mind creates that which would
have been in existence.
Paul Jaisini: Singing louder - singing better? Kicking higher -
playing better? Splashing paint - painting better?
Better none than nothing better!
I thank you for your interpretation between reality and illusion
as viewed in any single eye of sight, belief and total understanding
of the concept of two types of spectatorship: the masculine and
the non-masculine. I, with some knowledge about the Greek myths
and the idealism of Pygmalion…
Philip: You will tell me how to see this painting OR take me off
this list OR I will be in contact with a lawyer and he will call your isp.
James: in response to Freedom of Thought. This work you describe sounds
far too allegorical and pedantic to be taken seriously… however in the absence of the actual image it is difficult to comment on much further. You make no comments on the work’s brush work (I am assuming that it has been painted), how the manner of its execution works in harmony with the
iconography and symbolism, nor is the work put in the context of other artists or movements that the artist has been influenced by or is currently working alongside. This would go a long way to giving the work and your writing greater credibility. You are describing something in a vacuum… a one of visual interpretation of the painting, something almost any of us could do. What you need to do for a reader is put the work into a context… either personal (the background and intent of the artist)… or social (the context
of the time, place and circumstances in which it was produced)…. this is something the artist often cannot do… but which a viewer may wish to know to more deeply understand the work.
Re: Freedom of Thought painting by Paul Jaisini. You are a clearly gifted beautiful writer however your friend Paul Jaisini is a twisted pervert of the dirty rain coat flashing variety in a subway; nothing remotely redeeming about fancying himself in a prison rape scene except worthy of serious therapy.
Do you refer to something I can’t ever see - the art itself? And my confusion a reaction? That reaction part of this art? Or are you doing this for no reason other than to confuse me? Please no more word pictures, you are just picking my brain!
Richard: regarding Paul Jaisini Manifesto Gleitzeit
… reality is too complicated to sat anything abstract is for certain.
It’s been eons of years ago since your last contact. Maybe you’re busy. N-ways, I want you to know that I’m still in existence and craving for all the information you’re passing on. Your friend from the other side. From my brief perusal of your writing, I think you and Paul Jaisini are nuts. Of course, if this is not some sort of joke. Is there really a George W. Bush or is this person a clone created from the former president? I envision a world of clones, good and evil. We all look to the heavens for relief from the stress, which will be created by the new species. Will it be good or evil? Only an artist such as Yustas can project that which we cannot see. Do I get a t-shirt for this? Who in the hell would read this book? But once they find out that I may have a line or two in it they will be pleading for it. Will this book be written on toilet paper?
Evidently my comments, like the artist’s work, are not seen with
the eyes but the inherent truth can be realized intuitively.
Arts and virtuality are brothers in the galaxy of perspective.
Love how the intensity bends to accept the opium of everyone’s dreams….
excellent work Yustas! I have just finished checking out your site
and fully understand it. Is that scary or what. It is great that you promote a site with various aesthetics, and surreal images. Whether they are subliminal or simply suggested, does not give one the notion to try find it in the mind.
It would help to visualize the actual paintings, if they do exist.
The rhetoric of essays explain their history, but do nothing for the senses.
It is better to actually see the abstract within one’s own frame of mind.
One picture at a time. Can you say that one needs to believe a painting
exist if one says it does…
Anataalie’s Dream plantation - a story by Brigitte Rahman
inspired by the essays on Paul Jaisini’s oil paintings.
Philip: he thinks the ambition to bring high aesthetics closer
to people seems admirable, no doubt a worthy goal, yet it is not easy to accomplish.
Ben: re essay Narcissus, the images and the paragraphs do not connect
with a theme or a line or even a train of thought that allows the reader
to be drawn from point to point evenly and progressively.
Paul Jaisini: Art makes our existence to the end way more colorful.
Josh: in regards to Paul Jaisini Gleitzeit Supermoderniti Manifesto (short version)
Where can I see an artwork that is flexible and has multiple principles?
It is quite clear and at the same time unclear (I’m sure you understand and do not understand what I mean),your manifesto was an absolute assurance of your ever vortexing spiral into an event horizon of madness. Once you enter there is no escape. The crushing gravitational darkness will destroy all that you are and are not. A wormhole in time and space may form after you are crushed and mangled. All that remains are your energy that cannot dissipate, only transform. Hopefully for Planet Earth, your energy will transform far away on another planet where your insanity can be appreciated for the true crap that it is. Cause it sure as hell ain’t worth a hill of beans here. You might see a hill of beans as something other than most people do, but probably you get the point. I think you have a large nipple on the top of your head because
you are a giant boob. May the “FARCE” be with you. Artists are often like Catholics - figure it out.
In response to Gleitzeit Manifesto he/she writes circa 1999: “…your manifesto was an absolute assurance of your ever vortexing spiral into an event horizon of madness.”
Brigitte responds in writing style characterized with intimate and personal romantic tendency and intention to write as “intellectual seduction.”
“I will never believe that a great artist, a true artist after finding the TRUTH will survive and continue to grow, he will die… And that explains why so little of us go after it..”