behind the canvas...inside artist studio

I have a confession to make: I don't have a lot of favorite artists.

My criterion for favorite artists is this: if I can read their books, view their paintings, or watch their movies numerous times without getting bored by the repetition and always finding new facets to enjoy, then they're in the club. They might not be the big names you'd expect, but there's something about them that clicks with me; I just have a feeling that they simply belong to the same Karass as I do.

My roster of beloved artists remains modest; over the years, the list has diminished from hundreds to just a few. These select few share notable characteristics: a formidable educational background that allows them to build on what came before, an attitude to life that's a mix of being serious when it counts but not taking themselves too seriously the rest of the time—a blend of Decalogical ethics, irony, humor, and alienated engagement, as encapsulated in the enigmatic words of Heine: 'I cannot understand where Irony ends and Heaven begins'.

When it comes to belles-lettres, the current list of favorites contains just two pieces of literature: Pelevin's 'Chapayev and Pustota' and Brecht's 'Refugee Conversations'.

Only one animation makes the list - the animated series 'Masyanya' by Oleg Kuvaev.

In the realm of visual arts, one figure that stands out to me is the painter Ilya Zomb. He began his artistic career in our shared hometown, Odessa, before emigrating and settling in the US. As the beloved son of Odessa, Michael Zvaneckiy once said, 'There is something in this nervous soil that gives birth to musicians, chess players, artists, singers... who shine so brightly on both sides of secondary education!' And if I may add, 'on both sides of the Atlantic as well.' The emigration proved beneficial for Ilya; one can observe a shift in his paintings' palette from the gloomy, muddy colors of his pieces created in the USSR to the bright, vibrant colors of those made in the US. In my humble opinion, he reached the peak of his form and settled on his style around 2007, where he remains today.

Ilya has been on my radar for about a decade now. I can't recall exactly how I discovered his work online, but once I did, I was hooked. I added the link to my top favorites and scoured the internet for any of his work I could find

And then not too long ago, I found out that he hosted an Open Doors tour at his studio in Riker Hill Art Park, NJ. So, I made my way over there, and it was awesome. The studio was located in a quiet, cozy location, and the atmosphere at the event was very friendly and informal. I spent a good chunk of time talking about our lives and his art in the company of the artist, his lovely wife, and their cute dog.

Here are some photos from when I was there.

Art studio

Prop shelf

Tools of trade

Relaxation corner

Muse-in-chief

Muse-in-chief sidekick

Ilya

Saying goodbye in style

And finally, some great news - the next Open Doors event will be hosted this weekend.

kind of snowy days...

For a couple of days, our surroundings were covered with snow. One day was very sunny, another was foggy. On the foggy day, as I made my way to Lake Luxembourg, I stumbled upon an amazing sight - a double spiral of wheel tracks in the snow, bare tree trunks, and a field dissolving in the fog. I was in a hurry to get to the lake and didn't bother to stop. I wandered around the lake, but the spiral wouldn't let me go. I stopped near it on the way back and captured this scene. It turned out to be the best shot in the series, although the others didn't disappoint either.

Whirling in the Winter Wonderland

Generally, when I select candidate images for printing, I 'season' them for weeks or even months, observing whether my feelings about the images have changed. This time, I was so confident in its quality that I printed, framed, and displayed 'Whirling in the Winter Wonderland' without delay.

Whirling in the Winter Wonderland

Here is a small selection of images from the series.

Sunny day at the lake

Foggy day at the lake

Time to fly

Time to chill

Leave me alone

On the hunt for a lunch companion

mjb and mj...ch5. tales of tails


Clarification Note: The text of this post was crafted completely by ChatGPT AI with a touch of my own. All images in the post were crafted by Midjourney AI that followed my prompts.

[ Ch.1 ] [ Ch.2 ] [ Ch.3 ] [ Ch.4 ]


As mentioned earlier, I often use AI for entertainment. At this time, I have added an enjoyable twist by envisioning myself assuming the role of a photography magazine writer tasked with crafting an article on the 100-year evolution of portrait photography. Here is the article created by AI following my suggestions.

 

Evolution of Portrait Photography through the Masters

Portrait photography has evolved significantly over the last century, with each era marked by distinctive techniques and stylistic innovations. The works of iconic masters serve as a visual timeline, showcasing the evolution of this art form. Let's delve into the technical and stylistic transformations evident in the 'Boy and His Dog' portraits captured by renowned photographers across different periods.

From the eloquence of classical compositions to the raw authenticity of documentary realism, from probing psychological explorations to the fearless embrace of bold minimalism, and finally, the embrace of cutting-edge innovations in contemporary expression—each photograph unveils a distinct and compelling chapter in this vibrant story.

Edward Steichen (1879-1973)

Steichen's 'Boy and His Dog' portrait epitomizes early 20th-century classicism. Employing a soft focus and painterly aesthetics, he emphasized the subject's connection through meticulous composition and lighting. Steichen's use of chiaroscuro techniques brought depth and intimacy to the relationship portrayed.

Walker Evans (1903-1975)

Evans' approach represented a departure from romanticism, leaning towards documentary realism. His 'Boy and His Dog' photograph showcased a straightforward, unembellished style. Employing sharp focus and clarity, Evans captured the essence of the relationship within its unadorned setting, reflecting the straightforwardness of an era marked by social change.

Diane Arbus (1923-1971)

Arbus challenged conventional portraiture norms. Her 'Boy and His Dog' portrait was unconventional, diving into psychological complexities. Using unconventional angles and stark contrasts, Arbus conveyed a raw, unfiltered emotional connection between the subjects, presenting a departure from traditional compositional norms.

Irving Penn (1917-2009)

Penn's 'Boy and His Dog' displayed refined elegance and precision characteristic of mid-20th-century portraiture. Employing meticulous lighting and posing techniques, he created a composition emphasizing symmetry and balance. Penn's use of controlled studio settings elevated the bond between the boy and dog, exemplifying a harmonious relationship within a controlled environment.

Richard Avedon (1923-2004)

Avedon's 'Boy and His Dog' portrait was a departure from traditional portraiture. Employing stark backgrounds and a minimalist approach, he focused on capturing raw emotion and expression. Avedon's use of high contrast and boldness in composition created a striking visual impact, marking a shift towards unconventional and provocative portraiture.

Patrick Demarchelier (Born 1943)

Demarchelier's 'Boy and His Dog' reflected the evolving contemporary style of the late 20th century. Employing modern lighting techniques and a more relaxed approach to posing, he depicted a casual yet intimate connection between the subjects. His use of natural light and candid moments brought a contemporary sensibility to the traditional theme.

Tim Walker (Born 1970)

Walker's 'Boy and His Dog' departed from reality, embracing surrealism and fantasy. Through elaborate staging and whimsical elements, he created an otherworldly atmosphere. Walker's use of props, elaborate sets, and creative manipulation of light and color challenged traditional portraiture, inviting viewers into a world of imagination.

Annie Leibovitz (Born 1949)

Leibovitz's 'Boy and His Dog' exemplified modern portraiture's fusion of traditional and contemporary elements. Her use of environmental storytelling, combined with innovative lighting and composition, conveyed a narrative depth. Leibovitz merged classic portraiture with a contemporary touch, capturing a timeless yet relatable relationship between the boy and his dog.

The timeless theme of 'Boy and His Dog,' captured by these esteemed masters, not only symbolizes the enduring connection between humans and animals but also acts as a vivid canvas mirroring the continuously changing world of portrait art. This captivating exploration honors the ongoing evolution influenced by shifting aesthetics, progressing technology, and the limitless creativity of artistic minds.

mjb and mj...ch4: reflecting on AI and AI-infused image creation


Clarification Note: The text of this post was crafted completely by ChatGPT AI with a touch of my own. The image in the post was crafted by Midjourney AI that followed my prompts.

[ Ch.1 ] [ Ch.2 ] [ Ch.3 ]


Recently, there have been intense discussions about the essence of AI, particularly within the cutting-edge domains of text-to-text and text-to-image systems. Esteemed minds consistently share their thoughts on where AI stands now and where it might be headed. However, the rapid progress in AI fields makes it incredibly challenging for a human to keep pace. It may very well require an AI system itself to thoroughly explore the crucial aspects of this subject.

I have neither the aspirations nor the expertise to participate in the discussions of these distinguished experts. Instead, this serves as my humble reflection, coming from the perspective of an enthusiastic neophyte who uses one of today's leading AI platforms: Midjourney and ChatGPT. My journey begins with a longstanding history in photography and digital images manipulation, supported by an educational foundation in physics, math, and engineering, alongside a self-cultivated grounding in the liberal arts, particularly inclined towards belle letters. This blend of experiences has strongly influenced how I view the AI tools I have at my disposal. I make no claim that my perspective is universal, or even definitively accurate, if such a perspective can indeed be presented.

For around six months, I've immersed myself in using both tools. Some of the outcomes of my efforts, featured within this blog, might offer a clear peek into my creative process i.e. of 'what' I am doing with the tools. However, when faced with the question of 'why' I am doing it, asked by others or even by my own self-reflection, I find myself unable to give a definite answer. Clearly, I'm not pursuing this for practical or financial gain. Undeniably, I take immense pleasure in this pursuit, but that's as far as my explanation goes, and this unanswered question bothers me.

Almost every day, I come up with resolutions that, though sincere, turn out to be fleeting. This quest, in and of itself, is an engaging intellectual adventure, compelling me to voraciously consume and analyze a wide range of information across various fields of knowledge, and engage in deep conversations with ChatGPT. Astonishingly, I've discovered these exchanges to be more fruitful than those with the humans accessible to me.

And here I am, sharing how I currently perceive creation of compelling AI-enhanced images.

So far, I have managed to come up with a list of the current reasons 'why' I am doing it:

1. Addiction to achieving compelling results much faster compared to any other art forms I am practicing

2. Aesthetic pleasure in generating compelling images

3. Intellectual enjoyment that comes from playing with words using loose rules, often leading to unexpected and exciting results.

4. Art Therapy Practice.

5. Having my personal 'museum on demand', that is always accesible

6. Opportunity to simultaneously utilize my skills, this spans fields that previously appeared unrelated to me.

7. Appreciation of people whoes views I value

8. And finally - its uselessness; as Oscar Wilde once coined 'We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely. All art is quite useless.'

Upon assembling this list and examining it, something struck me - "Wait a minute, isn't this a vague description of the reasons Castalians played The Game?” I'm referring to The Glass Beads Game described in 'The Glass Beads Game' by Herman Hesse.

Just in case if you never heard of it "The Glass Bead Game" by Herman Hesse was first published in 1943 in Switzerland. It stands out as one of Hermann Hesse's more overtly speculative and intellectually complex works. Hesse was awarded the Nobel Prize in Literature in 1946, "The Glass Bead Game" were a significant factor in him being awarded the prize.

The novel is set in a distant future where society is organized around intellectual and aesthetic pursuits. The central focus of this society is the titular game, that combines elements of music, mathematics, philosophy, and art. The novel explores themes of individualism, intellectualism, and the search for higher meaning. In the book, Hesse deliberately described the game (also known as "Magister Ludi") in abstract and symbolic terms, leaving many details open to interpretation, allowing readers to imagine it in their own way.

This is how one (myself included) may interpret the Game:

Players:

The game is typically played by highly educated individuals, known as Castalians.

Components:

It involves the use of special symbols, often represented by 'glass beads', which are arranged to create complex patterns and structures on the 'board'. Each symbol likely represents a concept or idea from various fields of knowledge. No specific detail regarding 'beads' and 'board' was provided, the terms serve rather as methaphors of the actual devices. However, during the game the players were 'observing the evolving patterns' of the 'beads' composition, that implies that the 'beads' and the 'board' were not just neutral pieces of material but highly advanced devices that contained/could access vast arrays of information and could interact with each other. One has to keep in mind that Hesse envisioned the Game in early 40s, he could not possibly provide even fictional details about the Game specifics as the first electronic computers (possible potential candidates for the game components prototypes) appeared in late 40s and were a far cry from modern devices. Hesse's focus was on the conceptual and symbolic aspects of the Game rather than the physical manipulation of 'beads'.

Integration of Knowledge:

The game involves integrating knowledge from a wide range of disciplines including mathematics, music, philosophy, literature, and more. Players use 'beads' to explore the relationships and connections between these different fields.

Goal and Purpose:

The primary purpose of the game is intellectual and artistic. It serves as a means for players to explore and express complex ideas, often in abstract and symbolic ways.

The goal is to achieve a sense of visual harmony and aesthetic beauty in the arrangement of the 'beads'. The patterns created should be aesthetically pleasing and intellectually stimulating. Watching the "visual poem" would involve observing the evolving patterns and contemplating the meaning and connections behind them. The patterns created would serve as a visual representation of the synthesis of knowledge from diverse fields. It's a way of exploring the relationships between seemingly unrelated concepts.

"The Glass Bead Game" was written in a very different technological context, and Hesse's intentions were likely focused on broader philosophical and intellectual themes rather than specific predictions about AI. Nonetheless, the novel's themes could be a fertile ground for discussions about the role of advanced technology in shaping the pursuit of knowledge and understanding. It may be interpreted and discussed in the context of the AI era and the potential implications of advanced technology on intellectual pursuits.

To my surprise I was not able to find any meaningful discussion on Hesse's role as a prominent AI visioner. It might be that there is none. I suspect that as leading AI developers mostly belong to the 20-40 years old generation they might never heard of him. The novel is not easy to read because of its dense and introspective style, as well as its philosophical themes. People who enjoy this book are usually scholars who study philosophy and related subjects, rather than scientists and technocrats. Also, it's quite long and the way the story is told might need more attention. Or might be its time does not come yet.

Symphony of forms and colors, embodying the essence of 'The Glass Bead Game'

Before we dive into the subject of the post i.e. comparing AI-powered image creation with the complexity of the Glass Bead Game, it's important to acknowledge the current state of Midjourney development. Right now, Midjourney, while promising, is far from the level of the fully developed Glass Bead Game. Rather, it resembles an embryonic phase in the evolution of the Game, showing hints of what AI system could become.

Feature Breakdown

The Glass Bead Game:

Initiator:

Human - Player(s)/Castalian(s)

Initiation Method:

Human-provided arrangement of special symbols, ‘beads’ on a flat ‘board’. The 'beads' and the 'board' could be interpreted as metaphors for highly advanced devices that contain or have access to extensive arrays of information, and possess the capability to interact with one another.

Processing Method:

There is no a definitive description of how it processes the information. The novel just provides a literary and philosophical concept, allowing readers to contemplate the nature of knowledge, creativity, and the synthesis of diverse disciplines.                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                       

Domains of Knowledge:

Specific domains are not explicitly defined, but various references suggest the inclusion of the following:

concepts from mathematics, physics, and other scientific disciplines;

musical compositions, musical theories, and artistic elements;

philosophical ideas and concepts;

historical events, works of literature and poetry, as well as literary theories;

concepts from religious and spiritual traditions;

language, linguistics, and the structure of communication;

ethics and morality;

political theories, sociological concepts, and analyses of social structures;

elements of technology

Outcome:

The exact outcome or goal of the game is left deliberately vague and open to interpretation. The main goal of the Glass Bead Game is often thought to be reaching a deeper understanding and insight. It involves exploring and combining complex ideas from different areas of knowledge. This game helps people see connections between things that might seem unrelated at first. It's like a journey to bring together diverse elements in a harmonious and unified way. The result can be a stunning and intricate pattern of interconnected ideas, resembling a work of art.

 
 

Midjourney AI Platform

Initiator:

Human - Prompter/Prompt Engineer

Initiation Method:

Human-written text prompt containing words, phrases, and characters.                                                                                                                                                                                                                                                                                                                 

Processing Method:

Midjourne uses Large Language Model and Diffusion Model to create unique images based on text prompts. The large language model helps understand the meaning of the prompts and converts them into guides to the diffusion process. The AI image generator begins with a canvas of visual noise, progressively refining it through latent diffusion, resulting in an image representing the objects and concepts described in the prompt.

Domains of Knowledge:

Midjourney is trained on a massive dataset of text and images, and it learns to associate certain words and phrases with certain visual concepts.










Outcome:

When a user provides Midjourney with a prompt, it leverages its understanding of the world to produce an image that aligns with the given prompt. This is accomplished by randomly selecting from the pool of images it has acquired associations with during its training.



 
 

To put it simply, Midjourney, with its blend of Large Language Model AI and Diffusion Model AI, can definitely perform specific tasks in their respective areas. But it doesn't capture the complete, imaginative nature of playing "The Glass Bead Game." This special intellectual pursuit isn't about just getting things done — it's about seeking deep understanding and enlightenment through the fusion of diverse knowledge.

mjb and mj...ch3. blue, blue, blue umbrella


Clarification Note: All images in the post were crafted by Midjourney AI that followed my prompts.

[ Ch.1 ] [ Ch.2 ]


A lady with a blue umbrella and a dog

Mysterious and dreamlike cityscapes, shades of blue

Mysterious and dreamlike cityscapes, shades of blue

Mysterious and dreamlike modern cityscapes, 1930 blueprint

Mysterious and dreamlike modern cityscapes, shades of blue, medieval style painting

Mysterious and dreamlike cityscapes, shades of blue, medieval painting

mjb and mj...ch2. superior being


Clarification Note: All images in the post were crafted by Midjourney AI that followed my prompts.

[ Ch.1 ]


[ Russian version ]

During the COVID pandemic, I found myself confined to my home studio. Determined to make the most of the situation, I embarked on a creative endeavor that resulted in a series of photographs featuring Venice carnival Jester masks. The traditional Jester mask (the Joker mask depicts a male character, the Jolly - being the female equivalent) portrays a court Jester of the Middle Ages wearing a hat known as the fool's hat. It has three points or "punte" with the bells on the end that represent the tail and ears of a donkey. Another type of the Jester mask has multiple points spread evenly all around its face. As I delved deeper into the history of these masks, I stumbled upon images of the Etruscan artifacts, which looked in some way reminiscent of the Venetian Jester masks.

Etruscan goddess Uni, clay antefix, from the city of Satricum, in Latium, dating to the V century B.C., now in the Altes Museum (Staatliche Museen), Berlin, Germany.

This similarity led me to hypothesize that the history of Joker masks extends beyond the medieval period and possibly indicates a connection to ancient cargo cults. These cults emerged when members of primitive communities encountered representatives of more technologically advanced civilizations and imitated their practices, rituals, and symbols in the hope of achieving the same level of development. To verify this hypothesis, I conducted an online search for images of artifacts from ancient civilizations resembling Joker masks. My goal was to discover similarities between these masks and their potential ancient prototypes in order to uncover the evolution and sources of the captured images within the masks, whose meaning and significance have likely been long forgotten. I embarked on this search with a sober understanding that attempting to trace the evolution of these ancient images would likely be unsuccessful.

To my astonishment, I came across enough artifacts suggesting that Joker masks could be remnants of a series of cargo cults originating from mysterious ancient times. The first part of the blog post was published in February 2022.

Inspired by these findings, I eagerly began writing the second part of the post. I prepared a series of artifact images illustrating the evolution of mask prototypes and started working on the layout in February. However, a tragic global event occurred - on February 24, 2022, Russia invaded Ukraine. This brought the world to the brink of catastrophe and dampened my enthusiasm to complete the second part of the post.

Now, after nearly 500 days, I feel ready to return to this project. During the forced hiatus, there has been a revolutionary leap in image processing technologies - the emergence of accessible artificial intelligence systems that have opened up new possibilities for preparing illustrations for the post. Therefore, I have decided to rework the material of the post and include images generated using the AI generative program Midjourney.

I will publish the second part of this blog post as soon as it is complete. In the meantime, I believe the image I have created holds independent value within the context of my new ‘mjb and mj’ series. Here is a sneak peek of one of the images generated by AI, offering a glimpse into the upcoming second part of my blog post:

Superior Being

Stay tuned as we embark on a captivating exploration of the ancient origins of Jester masks, uncovering a tapestry of history, culture, and artistic expression spanning millennia.

mjb and mj...ch2. superior being (rus)

[ English version ]

mjb and mj...ch2. высшее существо

Во время пандемии COVID я вынужден был проводить большую часть времени в своей домашней студии. Воспользовавшись этой ситуацией, я создал серию фотографий с масками шутов Венецианского карнавала. Традиционная маска шута (маска Джокера - мужской персонаж, Джолли - женский эквивалент) изображает дворцовогоо шута эпохи Средневековья в шляпе, известной как ‘шляпа глупца’. У шляпы имеются три конца или "пунте" с колокольчиками, которые как считается представляют хвост и уши осла. Еще один тип маски шута имеет несколько кончиков, равномерно расположенных по всему лицу. Разбираясь в истории этих масок, я наткнулся на изображения этрусских артефактов, которые во многом напоминали венецианские маски Джокера.

Этрусская богиня Юни, глиняный антефикс из города Сатрикум в Лации, датируемый V веком до нашей эры, сейчас находится в Альтес-музее (Штатлихе Музеен), Берлин, Германия.

Это сходство привело меня к гипотезе о том, что история масок Джокера выходит за рамки средневекового периода и возможно указывает на связь с древними карго культами, которые возникали, когда члены первобытных сообществ встречались с представителями более технологически развитых цивилизаций и имитировали их практики, ритуалы и символы в надежде достичь этим такого же уровня развития. Для верификации этой гипотезы я произвёл онлайн поиск изображений артефактов древних цивилизаций сходных с масками Джокера. Моя цель заключалась в обнаружении сходств между этими масками и их потенциальными древними прототипами в надежде раскрыть эволюцию и источники запечатлённых в масках образов, смысл и значение, которых вероятно были давно забыты. Я начинал этот поиск с трезвым пониманием, что попытка проследить эволюцию этих древних образов скорее всего не будет успешной.

К моему изумлению, мне встретилось достаточно артефактов, указывающих на то, что маски Джокеров могут быть останками серии карго культов, пришедших из загадочных древних времен. Первая часть блог-поста была опубликована в феврале 2022 года.

Вдохновленный этими находками, я с энтузиазмом приступил к написанию второй части поста. Я подготовил серию изображений артефактов, иллюстрирующих эволюцию прототипов масок и в феврале начал работать над оформлением второй части. Однако, произошло трагическое глобальное событие - 24 февраля 2022 года России вторглась в Украину. Это привело мир на грань катастрофы и охладило мой энтузиазм завершить вторую часть поста.

Теперь, спустя почти 500 дней, я чувствую себя готовым вернуться к этому проекту. За время вынужденного перерыва призошёл революционный скачёк в технологиях обработки изображений - появление доступных систем искусственного интеллекта, которое открыло новые возможности в подготовке иллюстраций к посту. Поэтому я решил переработать материал поста и включить в него изображения, подготовленные с помощью генеративной программы ИИ Midjourney.

Я опубликую вторую часть, как только она будет готова. В то же время я мне кажется, что созданные ИИ изображение имеют самостоятельную ценность в контексте моей новой серии ‘mjb and mj’. Вот одно из таких изображений, которое войдёт во вторую часть блог-поста:

Высшее существо

Следите за обновлениями, мы скоро отправимся на поиск прототипов венецианских масок Джокера в увлекательном путешествии в переплетение истории, культуры и художественного творчества на протяжении многих тысячелетий

mjb and mj...ch1. i think this is the beginning of the beautiful friendship


Clarification Note: The text of this post was crafted completely by ChatGPT AI with a touch of my own. All images in the post were crafted by Midjourney AI that followed my prompts.




Artificial intelligence (AI) is intelligence demonstrated by machines

Midjourney (Mj) is a generative AI program and service

ChatGPT is a large language model AI chatbot

MJB - Mark Joseph Berman, yours truly

NB - Naomi, Coton de Tulear



MB, NB, ang Mj on the beach - a triad of highly intelligent individuals complementing each other's abilities in the pursuit of happiness

Over the past months, I've dived headfirst into the realm of text-to-image AI. I've embarked on an adventure prompting Midjourney to generate numerous images, and let me tell you, the results left me utterly stunned. It sparked a series of thought-provoking questions that ignited my curiosity:

To what extent are human-AI look-alikes?

As I gazed at the AI-generated images, I couldn't help but wonder how closely they resembled their human counterparts. It's remarkable to witness the AI's ability to capture elements of human likeness, blurring the boundaries between human and machine.

The role of the human in this process - is the human a creator?

Amidst this creative journey, I found myself pondering the role of humans in the text-to-image AI interaction. Are we mere prompters, or can we consider ourselves co-creators? It's a fascinating dynamic, where humans provide the initial spark of inspiration by providing the input—descriptive text or prompts that guide the AI's artistic prowess. It's like giving the AI a virtual canvas and saying, "Create something amazing!" But hey, we're not just co-creators; we're also the eager users who witness the magic unfold.

Are the resulting images an art?

The question of whether AI-generated images can be considered true art sparks lively debates. Some argue that true art requires emotional depth and the human touch, while others appreciate the unique charm that arises from the fusion of human creativity and AI algorithms. It's an exciting blend of imagination and computational brilliance, expanding the boundaries of what we define as art.

What similarities exist between human-AI look-alikes and human-other-living-being look-alikes, such as dog look-alikes?

Intriguingly, the parallels between human-AI look-alikes and human-dog look-alikes caught my attention. It's amusing to observe how both combinations exhibit resemblances that bring a smile to our faces. It's a testament to the creative interplay between humans, AI, and the natural world.

To add a touch of humor and entertainment, I've included some delightful dog-owner look-alike images in this post. These images were prompted and tweaked by yours truly, serving as a testament to the collaborative process between humans and AI.

As I reflect on this exhilarating journey, I can't help but feel a surge of excitement for what lies ahead. The realm of text-to-image AI is brimming with endless possibilities, and I eagerly anticipate the unexpected discoveries and remarkable creations that await us on this road.

So, my friends, join me as we venture further into the realm of AI-generated images. Let's celebrate the fusion of human ingenuity and AI's computational brilliance, uncovering the breathtaking artistry that emerges from this captivating collaboration. Together, we'll continue to explore and embrace the boundless horizons of AI's creative power.

It's going to be a wild ride, and I'm excited to share it with you in the upcoming chapters. May the Intelligence be with you.

hanukkah coincidence...

I took this image in 2007 during Hanukkah celebration on the Akumal beach

On the first day of Hanukkah 2022 I came across these magic lines of poetry written by Gorodnitsky in the same 2007

Планет небесная механика
Над далью моря голубой,
Когда горит свеча на Хануку,
О чем мы думаем с тобой?

[Planets celestial mechanics / Over the distance of the blue sea, / When the Hanukkah candles burn / What are you and I thinking about?]

Such a beautiful coincidence

fridge vs TV...

In the last two years I passionately divided my spare time between two hobbies - Fine Art Photography and Bread Baking. Whenever a new fine art image was completed, I shared it with my Facebook friends and followers. It was only natural that I also made a Food Photography style image of any new type of bread I baked and shared them in my Facebook as well. Sometimes I also shared my images of pastry masterpieces baked by my wife.

Recently I posted within a week timeframe my latest fine art image

and an image of Lucy's latest masterpiece

The response to them (Likes/Comments) really surprised and intrigued me - the fine art one got 3/0 responses and the cake image got 25/7 responses, i.e. the cake got 8-1 win over the art. It looked like a perfect illustration of a far-famed Russian saying - 'In a battle between a television and a refrigerator, the fridge will always beat out the TV'.  I guess this view is kind of specific to Russian mentality. I have not seen a matching saying in English, the closest one is, probably, the famous ‘It’s the economy stupid’.

My first emotional explanation of this skewed outcome was that maybe because the majority of my online audience has the Russian origin and experienced periods of food shortages in their past, it made them more gastronomically inclined in their image preferences.

However, my scientific background did not allow me to accept such sad truth easily. What if this outcome was just a random deviation? Luckily, I posted enough images of both categories to make a proper statistical analysis rather than to accepting this outcome as the final truth. There were 16 bread/pastry images and 9 fine art ones in total posted from May 2020 to August 2022.

The mean values of number of responses were 15 and 13 respectively. The statistical comparison of the means of two groups showed that the difference between means of Bread and Fine Art groups is not statistically significant. In plain English, it means that my audience has not expressed preference for one group over another.

Phew, I feel much better now!

For those interested in the details of the analysis - they are given below


peaceable kingdom

Quaker Minister and America’s foremost primitive painter, Edward Hicks, resided and was buried just a mile away from my Newtown residence. He is best known for his ‘Peaceable Kingdom’ pictures, of which sixty-two exist, and he might had painted over a hundred of them. Hick’s house is still there and there is a ‘Peaceable Kingdom’ playground located a couple of blocks from it.

The ‘Peaceable Kingdom’ paintings depict a prophecy in the Book of Isaiah (11:6):

The wolf will live with the lamb,
    the leopard will lie down with the goat,

They will neither harm nor destroy
    on all my holy mountain

Peaceable Kingdom playground, Newtown, PA

The prophecy is commonly perceived as a description of a state of harmony among all creatures, a state of peace as opposed to war. However, it is hard to believe that Hicks spent so much time on a series that spanned half of his life, from 1816 to 1847, to convey such a simple message.

The prophecy could be perceived on a deeper existential level as a description of a place where there is no death and no time - a blessed land where nothing changes, the feature frequently associated with an afterlife. Hicks being a Minister most probably perceived it as such and presented his reflections in the ‘Peaceable Kingdom’ series.

Many great intellectuals contemplated over the centuries the mystery of life, death, and possibility of the afterlife. Although they did not come any closer to resolving the mystery, at least they tried and left after magnificent descriptions of their views. Among them, in my humble opinion, is one of the most profound poetic works of the XX century - ‘The Great Elegy for John Donne’ by Joseph Brodsky. Here is the description of the ‘Peaceable Kingdom’ from this elegy:

The radiance of that Country does not fade.

From thence all here seems a faint, fevered dream.

From thence our Lord is but a light that gleams,

through fog, in window of the farthest house.

The fields lie fallow, furrowed by no plow.

The years lie fallow, and the centuries.

Forests alone stand, like a steady wall.

Enormous rains batter the dripping grass.

...All things are distant. What is near is dim.

The level glance slides from a roof remote.

All here is bright. No din of baying hound

or tolling bell disturbs the silent air.

Joseph Brodsky - The Great Elegy for John Donne

И климат там недвижен, в той стране.

Откуда всё, как сон больной в истоме.

Господь оттуда -- только свет в окне

туманной ночью в самом дальнем доме.

Поля бывают. Их не пашет плуг.

Года не пашет. И века не пашет.

Одни леса стоят стеной вокруг,

а только дождь в траве огромной пляшет.

...Всё, всё вдали. А здесь неясный край.

Спокойный взгляд скользит по дальним крышам.

Здесь так светло. Не слышен псиный лай.

И колокольный звон совсем не слышен.

Иосиф Бродский - Большая элегия Джону Донну

And here is an image from my ‘Venetian Masks’ series inspired by the elegy. One with sharp vision could even discern ‘windows of the farthest house’ in the upper right corner.

Peaceable Kingdom

venice carnival jester masks... 2. in search of their origin

 

In memory of Andrey Yuryevich Sklyarov (1961 - 2016)

 

Andrei Sklyarov was a founder and ideological leader of the Laboratory of Alternative History, author of dozens of books and films that changed the views of thousands of people on the ancient history, architecture, archeology, and paleogeography.

 

Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat.

venice carnival jester masks...1. mask-induced obsession

Over a year ago I developed an obsession with masks. It was not the common nowadays obsession with protective masks but a fancy obsession with the Venice Carnival masks. And it was not just with any kind of the Venetian masks but rather with one particular type - the Jester masks. I felt a strong urge to implement the Jester mask images in my photography and could not resist this idee fixe. So I started to create still life images where a Jester mask played a role of the centerpiece. So far I completed seven such natura mortes and still do not feel completely cured. It was a pretty elaborate project - each image took around two-three weeks from start to finish.

A short introduction for those who have never heard of the Venice Carnival - the etymology of Carnival is from Medieval Latin 'carne vale' that literally translated means 'meat, farewell'. Carnevale is celebrated in the pre-Lent period before Catholics spend forty days in deep reflection and give up luxuries such as meat. During the celebrations merrymakers are free to eat, drink, and dance without reproof.

According to legend, one of the most famous carnivals around the world, the Carnival of Venice, started in the 12th century. The Venetian Republic defeated the Patriarch of Aquileia, Ulrico di Treven, he was taken prisoner and later released in 1162. The sharp-witted Venetians in exchange for his release requested payment of an annual tribute of a bull, twelve pigs and 300 loaves of bread to be delivered in the last days before Lent. In the honour of this victory, the people started to dance and gather in San Marco Square where the animals would be slaughtered in a public ceremony on 'Fat Thursday'.

The Republic of Venice only allowed nobles to participate in government and public life. Carnival of Venice relaxed the rules and allowed people of different classes to mingle together, which was not allowed at other times during the year. This tradition can be traced at least to the traditions of ancient Roman festivities such as Saturnalia. Venetian masks have always been a unique and important feature of the Venetian carnival. They made it possible for people of different classes to mingle together, which was not allowed at other times during the year.

Venetian masks may be generally classified under three major groups: Commedia Dell’Arte masks, traditional Venetian masks, and fantasy masks. Almost all of them are fancy faceless masks or depict funny recognizable characters, except for, maybe the Jester masks. The traditional Jester mask (the Joker mask depicts a male character, the Jolly - being the female equivalent) portrays a court Jester of the Middle Ages wearing a hat known as the fool's hat. It has three points or "punte" with the bells on the end that represent the tail and ears of a donkey. Another type of the Jester mask has multiple points spread evenly all around its face. In my opinion, this mysterious mask is in a class of its own, there is even confusion as to what mask group it belongs to. More about it in Part 2, below are still life images with Jester masks I created so far.

Venetian Mask and Shells

White Mask

Jolly Mask and Birds

White Mask, Bust, and Lemons

Farewell to MMXX (2020)

White Mask and Watches

Eight Birds and Mask

Gallery 14 Juried Photography Exhibition 2022

tyler park...hanukkah eve

A peaceful windless Hanukkah Eve at the Tyler Park

It’s the perfect condition for practicing the art of stone skipping and skimming

Geese flocks are heading to the Lake Luxemburg for a good night sleep

A lonely paraglider is exploiting this golden opportunity

to fly with feathered companions

before landing in his back yard to get home in time for Hanukkah celebration