hey pjackk u got any dating advice for a lonely guy like me
Fuck No Bitch
--P. Jack's Hood Classics
Cosimo Galluzzi
art blog(derogatory)

Acquired Stardust
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let's talk about Bridgerton tea, my ask is open
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@tsaier
hey pjackk u got any dating advice for a lonely guy like me
Fuck No Bitch
--P. Jack's Hood Classics

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Keeping it real.
Keeping it distracted.
Ain’t nothing happening in my life that’s important to anyone external
I’m mad as hell and there is very much, a lot I can do.
The suck suck suck of screens is destructive and comforting.
Even in creation, we and I, are doing this, we’re all doing this for audience.
No matter what, even if this note will be read 100 years from now, I will be gone, but yet I write this for an audience.
Even if I buried this note in the yard, I am writing it for the worms and something else underground.
How would I, even in writing this, have anything authentic to say if it’s just for me?
I’m looking for something, but the amount of effort into the search is absolutely minuscule compared to the effort I put into being “On” for society and a job.
The anger in me is rising, I am upset with nearly all people, only a handful of people in the world really make this place for me worth it.
And some people are falling through my fingers. Ain’t nothin special about me, I just want to stare at an air duct all day, in some cold hallway.
Goodnight
Is that a carpet backsplash?
I would like to be here

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What the fuck
This is absolutely fascinating. I've now been looking at Alex Colville's paintings and trying to work out what it is about them that makes them look like CGI and how/why he did that in a world where CGI didn't exist yet. Here's what I've got so far:
- Total lack of atmospheric perspective (things don't fade into the distance)
- Very realistic shading but no or only very faint shadows cast by ambient light.
- Limited interaction between objects and environment (shadows, ripples etc)
- Flat textures and consistent lighting used for backgrounds that would usually show a lot of variation in lighting, colour and texture
- Bodies apparently modelled piece by piece rather than drawn from life, and in a very stiff way so that the bodies show the pose but don't communicate the body language that would usually go with it. They look like dolls.
- Odd composition that cuts off parts that would usually be considered important (like the person's head in the snowy driving scene)
- Very precise drawing of structures and perspective combined with all the simplistic elements I've already listed. In other words, details in the "wrong" places.
What's fascinating about this is that in early or bad CGI, these things come from the fact that the machine is modelling very precisely the shapes and perspectives and colours, but missing out on some parts that are difficult to render (shadows, atmospheric perspective) and being completely unable to pose bodies in such a way as to convey emotion or body language.
But Colville wasn't a computer, so he did these same things *on purpose*. For some reason he was *aiming* for that precise-but-all-wrong look. I mean, mission accomplished! The question in my mind is, did he do this because he was trying to make the pictures unsettling and alienating, or because in some way, this was how he actually saw the world?
omf i never thought i'd find posts about alex colville on tumblr, but! he's a local artist where i'm from & i work at a library/archives and have processed a lot of documents related to his art. just wanted to give my two cents!
my impression is that colville did see the world as an unsettling place and a lot of his work was fueled by this general ~malaise?? but in a lot of cases, he was trying to express particular fears or traumas. for instance, this painting (horse and train) was apparently inspired by a really tragic experience his wife had:
iirc she was in a horrible automobile crash, as the car she was in collided with a train. i find it genuinely horrifying to look at, knowing the context, but a lot of colville's work is like that? idk he just seems to capture the feeling you get in nightmares where everything is treacle-ish and slow and inevitable.
Antiques at Home, 1989
USA 1993

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<3
Officially licensed 1997 Super Mario 64 Wing Mario plush.
While the plush appears regular from most angles, looking at it in such a way that Mario's head is angled up reveals that while he is not meant to have a mouth (it is intended to be hidden by the mustache), a large seam connecting his face to the rest of his head makes him appear to have an extremely large, puppet-like mouth.
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I had him as a kid, his nose always got so dirty, I brought him everywhere I went. Especially remember going to Sears with my Mom when we picked out JNCO's, and just letting him fly around the clothes racks.

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rensai_kamo
One minute! Assortment of Tenshin-ryu [Dai-to, Tachi-ai] for busy people.
<The Snowman, 1982>