stellys

“HOMAGE TO PAUL JAISINI INVISIBLE PAINTINGS FROM 1994” IS A NEW ART COLLECTION OF UNIQUE ARTWORKS FROM THE SUPREMELY GIFTED YOUNG TALENTS. THE SPECTACULAR NEW ARTWORKS, WRITINGS, ANIMATED GIF SERIES AND DOCUMENTARIES ARE INSPIRED BY THE STORY OF PAUL JAISINI, THE GENIUS PAINTER AND NEW YORK LEGEND, 20 YEARS AGO HE DESTROYED ALL OF HIS BEAUTIFUL ARTWORKS. EVER SINCE PAUL JAISINI PAINTS THE ENIGMATIC INVISIBLE PAINTINGS. THE ONGOING ART PROJECT UNDER META CATEGORY IS TITLED: “ART ABOUT ART”

Meanwhile Invisibility is Marching On.

Drowning in clutter “We are a mass-produced society which is drowning in clutter.

The Internet never forget – Fist invisible art documented on Internet

Photo with mirror is popular for the optical trick “to make me invisible”

Curator Paul Schimmel introduces his exhibition “Destroy the Picture: Painting the Void, 1949-1962” in this video featuring archival footage of Yves Klein and Salvatore Scarpitta and paintings by Japanese, European, and American artists influenced by the destruction wrought by World War II.

2012 exhibits - works of various artists do a one-shot attempt at invisible art concept. Usually it happens once in the artist’s carrier, he wouldn’t continue it this direction since he will just repeat the same unable to develop the idea and failing to capitalize on a disposable thing.

Titles of such works indicate that attempt is made to “connect” to the viewer when the work is titled like: “You are Invisible”

Invisible Flower by Yoko Ono – still visible just pale artworks.

The art of measuring the invisible.

Beautiful work of art not pictured due to lack of existence – written text (topography)

Visualising the Invisible. Arts and Science Collaborations

Conceptual-Fresh Air”

Another title: “The emptied canvas”

Almost invisible art

Uncopy – paintings – empty canvas

No Object Implies the Existence of Any Other, 1967. written on a mirror.

When Revealing the Invisible INtheVISIBLE

Monochrome painting (white, black) is for a long time claim being INVISIBLE

Andy Warhol’s Invisible Sculpture - an empty plinth bearing the label ‘Andy Warhol, USA / Invisible Sculpture / Mixed Media’ - was unveiled at the New York club, Area, in 1985.

Invisible Art

By Kacie Monroe, “The Healer”. There is a small glass vial about the height of a Dixie cup. Contained inside the vial is a liquid filled to the top. When looked upon in sunlight, the liquid is clear; however, appears iridescent and reflects a multitude of colors. This is not magic; it is a cure. It will heal any individual who consumes it regardless of how lethal the injury or disease is. All it takes is one drop. Another thing to note: it cannot bring people back to life. This is the last of the cure on the entire earth, so be cautious and use it wisely. Important! You are not buying a visible piece of art; you are buying the title and description card for the imagined artwork.

This painting is not available in your country (text on black)

This painting should be ideally hung near a Sol LeVitt

Amidst a world saturated with a relentless stream of images and stimuli, moments of visual quiet can take on unexpected power. InVisible: Art at the Edge of Perception

Secret Painting (1967 above) consists of a white-painted canvas accompanied by the following text:

The content of this painting is invisible: the character and dimension of the content are to be kept permanently secret, known only to the artist.

Invisible Labyrinth is a completely invisible maze made with infrared lasers in exhibition 2005

Invisible Urban Topography: Visualizing City Wi-Fi Fields

All around us, there is an invisible landscape surrounding and permeating everything that we can see. This second urban topography exists in the wi-fi networks that crisscross the physical topography, beaming data invisibly all around us. Visual artist Timo Arnall wanted to be able to see these streams of information, so he created a video and a series of photographs bringing to light the wi-fi networks all around Oslo, Norway.

The project is called “Immaterials: Light Painting WiFi.” Timo, along with Jorn Knutsen and Einar Sneve Martinussen, built a light stick that operates somewhat like the reception bars on your cell phone. The stick detects a wi-fi signal and lights up according to how strong the signal is. You buy Weiner’s immaterial idea, as a certificate that lets you write his phrase in a room, or come up with the sculpture you think it describes.

this art has moved from counterculture to collector culture, it has started to become more consumable. Wall drawings by Sol LeWitt, a founding father of conceptualism, were once about reducing visual art to the raw ideas that shape it. Watching LeWitt’s raw ideas become high-end collectibles may be what has led some younger artists to seek a more ironclad evanescence. Tino Sehgal, who was born in London in 1976 and is now based in Berlin, simply makes strange things happen in the world, without any records or photos permitted. A collector who “buys” a Sehgal—they now run around $100,000, a pittance in Art Basel terms—doesn’t even get a certificate to prove it: the transaction is conducted in cash, before witnesses, without paperwork to soil its purity.That was good enough for collectors who “own” a Sehgal that consists of a museum guard slowly removing every shred of his clothes. (There being no guards in the Gensollens’ home, so far the piece has come alive only when they’ve “lent” it to museums.) Her husband chimes in: “When the work is immaterial, we’re just its temporary holders. Accumulating fancy goods is absurd. We buy works to talk about them, and to stretch people’s notions of what art is…But some people want the opposite: a reassuring object with a big name.”

Art Basel Aaron and Barbara Levine, veteran collectors from Washington, D.C., were looking for rarefied work that was maybe more important than the showstoppers. And, as it happens, barely even there.

Other artists title their whole art show not just a work - The Invisible Show when the reviewer writes how a work is indeed “too visible” (hidden sort of Christo like wrapping of objects)

Hayward gallery in London received a lot of publicity and a lot of big time “visibility” for the Invisible show in 2012

Projects called invisible generation and info explains that the audience does not necessarily expect to find artwork.

Attempts to write Brief History of Invisible art

Artist is covering Europe in Invisible Graffiti (gets more attention now than a billion of others who are covering in visible graffiti)

SOCIAL USE of the word invisible as it gained wide popularity: describing social problems use word invisible in context: Older seems to equal invisible

New terms in various uses Chronic Social Invisibility

Architectural concept - infinity2Tower Infinity South Korea’s invisible skyscraper (the idea gets public visibility and attention with comments such as:

Very idea of it just SCREAMS “Flight Hazard”.

The South Korean government has granted approval to begin construction on what will be the world’s first “invisible” tower. Called the Infinity Tower, it will

be equipped with an LED facade system and optical cameras to give it a reflective skin” and a striking translucent appearance.

A simple art project by an ordinary art student has been making quite a stir worldwide, with images of her cleverly painted ‘invisible car‘ appearing in publications around the world.

(Must be quite entertaining, with such potential for the hazard of driving comments

Artists with inclinations to philosophy such as Yves Klein take photo of a cabinet and title it: “Zone of Immaterial Pictorial sensibility” in Duchampian fashion of giving names to silly items and perform this “artistic transformation.” Still the picture is just a photo of an empty bookcase or whatever

Comprehensive reviews written where the so-called Invisible art is even classified by styles, the review is written by someone who is into this, as he gathered a lot of various events in time and approach in “The eloquence of absence: omission, extraction and invisibility in contemporary art. Empty gallery.

Artist try to capitalize but while people love the concept the real art collectors, who would not buy into mockery, do not love it and some unsubstantiated claims of making Something amazing from

Nothing, Nothing is not turned into Something. Nothing in the hands of unskilled creator is turned in Nothing. Only highly skilled and most talented can do great things as Nothing is where the genius starts and transforms it. Without a genius Invisible nothing is just that. And it can be called the Museum of non-visible art with celebrity name of James Franco or anyone else. It still is the same old gig.

Meanwhile Invisibility is Marching On.

FOR IMMEDIATE RELEASE

MANIFESTOGLEITZEIT 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! 

DON’T BOTHER!

The time has come to start making sense of things, of the world, of each other. We think we’re doing that, but we’re actually doing the opposite. We are complicating…EVERYTHING…to the point of utter madness. Our world has become one ginormous madhouse, ESPECIALLY cyberspace — this alternate world we created within our world that seems to have created a world within itself — yet to be identified, recognized, and named. Making sense of things is not a bad thing. For example, let’s start with one major web enigma: Paul Jaisini and “Gleitzeit” which is this, uh, odd art movement the guy started in the 90s. If you simply google either of those names, I gaurantee you a good WTF moment or two. You’ll not just be scratching your head over this one. You’ll be scratching every part of your body like a delusional nutcase who thinks your skin is literally crawling with countless bugs. IT’S GONNA BUG THE HELL OUT OF YOU, let’s just say…maybe for a day or a week…or maybe, as for some folks, long after you’ve discovered it. You’ll be itching to understand what it’s about even just a little bit. Your mind will try to make sense of Paul Jaisini and/or Gleitzeit, it will want to, but will fail miserably. Frustration and anger will start setting in. I know because that’s how it was for me and every person that tried. The deeper you dig, the more you try to figure it out, the more confused, overwhelmed, baffled, and perplexed you’ll get. I guess for the people that attempt to understand the Paul Jaisini and Gleitzeit thing or debunk it, my advice is: DON’T EVEN TRY. DON’T GO THERE. IT’S NOT FOR YOU. The sleepless nights, the uncertainty, the questions and ideas that start invading your head, the horror of “waking up” from normality and regularity, the trauma of moving from one dimension to another… is not worth it. Well, for me it was worth it, but not for others. They claim it’s crazy and even dangerous for the mind, Paul Jaisini’s Gleitzeit. Well, sure, I mean you gotta break some eggs to make an omelette, dontchya? So, Gleitzeit is the omelette and all parties involved in GIG (Gleitzeit International Group) are the eggs. Makes sense. Speaking of which, “they” don’t want it to make sense, not even close. As a member of the group, I’m breaking protocol BIG TIME by writing this, by encouraging that you go out there, look this stuff up and figure it out, take away its shield of senselessness and defeat it… for the sake of a better world and future for us all. I hope someone out there hears me….one way or another, it had to be said…. Stelly Riesling