it feels like i'm actually in butthouse

vcc and gold panda are bedfellows

Quote from: LeekClock;1805727Start playing and experimenting and failing, but don't stick to a particular vision or goal from the beginning. An idea or a vision should be only the starting point. Any idea can be developed through experimentation into something that means more to you, becomes more interesting to you due to this deepened connection and exploration.

In other words, an idea becomes more inspiring the more you make it your own, the more you explore it. There is virtually no likelihood of you starting out with an idea so inspiring that you don't have to change or develop as you work, so start changing, developing, experimenting from the start.

Make no idea so sacred that you cannot change it or throw it out, and don't fear starting the project again or taking it in a new direction if your ideas lead you to an inspiring revelation that you can't work into your project as it currently exists. Think, in that case, of the new project as being an extension of the first. It's still progress of the best kind. The worst thing you can do is become a slave to an idea that doesn't actually excite you any more. The key to exciting work is to be excited by what you're doing while you're doing it.

So don't look for inspiration as a starting point. Look for it all the time while you're working. In making art you should be chasing your sense of wonder around your mind. Making a dialogue with it -- not just listening to it, then going home and writing a letter about it. You should be exchanging information with it like in a conversation. Then your work becomes like a transcript of what happened in the process.

Start playing and experimenting and failing, but don't stick to a  particular vision or goal from the beginning. An idea or a vision should  be only the starting point. Any idea can be developed through  experimentation into something that means more to you, becomes more  interesting to you due to this deepened connection and exploration.

In other words, an idea becomes more inspiring the more you make it your  own, the more you explore it. There is virtually no likelihood of you  starting out with an idea so inspiring that you don't have to change or  develop as you work, so start changing, developing, experimenting from  the start.

Make no idea so sacred that you cannot change it or throw it out, and  don't fear starting the project again or taking it in a new direction if  your ideas lead you to an inspiring revelation that you can't work into  your project as it currently exists. Think, in that case, of the new  project as being an extension of the first. It's still progress of the  best kind. The worst thing you can do is become a slave to an idea that  doesn't actually excite you any more. The key to exciting work is to be  excited by what you're doing while you're doing it.

So don't look for inspiration as a starting point. Look for it all the  time while you're working. In making art you should be chasing your  sense of wonder around your mind. Making a dialogue with it -- not just  listening to it, then going home and writing a letter about it. You  should be exchanging information with it like in a conversation. Then  your work becomes like a transcript of what happened in the process.

Is that a shadow that's making the bottom/bottom-left of the painting a bit darker, or is it part of the painting? It actually makes the picture for me! It adds more dynamics to the composition, like pianissimo or fortissimo in a music composition. That is to say, the variation between dark and light it creates makes the picture a lot more visually interesting to me personally. Although there's some nice depth and mystery in that central square already.

You should take a better picture of the painting if it's something you're proud of. And perhaps not call it a fingerpainting out of coyness (or is it actually a fingerpainting?).

improved upon the mechanics, location and installation a bit. now it's in a library, and the mechanism is more sophisticated (and reliable). now there's a sensor that detects when the disc has rotated one beaker, and an electromagnet that opens and closes a brake to stop the disc in the right place.

I think the album is good if you don't listen to it disappointed that it's not like the previous one or an advancement from that place. It's an experiment and there is merit in its intimacy and its honesty. I like Plastic Beach a lot too, but this album has its place. It's grown on me.

Quick there's still an hour and forty five minutes to wish Yo Yo a Habbababba.

{{{yoyoclock}}} you're a good one we'll keep you in our hearts

WUUUHHHRRR DOLPHINS ARE JERKSZ WUUUHHRRR

That was quite something.

Quote from: ButtplugClock;1799681oh god the shot from the underside ahahahahaha

No detail was spared, indeed!


edit: I think in hindsight the most disturbing thing was that Donald has teeth at some points

Quote from: VCRClock;1799677

It was "Zen in The Art Flower Arranging" and it, of course, only travelled in space, not time.






























BECAUSE THERE'S ONLY NOW.

I heard (from the TELEVISION) that the best way is to dissolve the remains in acid, which in America you can apparently buy in big barrels from the hardware store.

Thanks for the link IvysaurClock

Quote from: JellyClock;1799351whats up leek. its been a long ass time

i was in belgium the other day shoulda holla'd

what is up with brussels's red light district all the women are so ropey

 That's where I found BunnyClock and UpdateClock, behind glass.

I found BunnyClock and UpdateClock though

I lost my ego in Belgium and I can't find it anywhere

It took six months audio detox for you to regain the necessary levels of sensory perception to locate the device. It was there all along!

I lost a teacup the other day and my first idea was to telephone it so that I'd hear it ringing. And yesterday I heard post coming through the letterbox so I went to check my Gmail inbox.

I lost this book

and you look everywhere, and it's a mystery, and you wonder where it could have gotten to, and you think it can't be anywhere it must be? I'm quite certain that my book is in Normandy. It was in my living room, on the sofa, two nights ago, and now i'm sure that without my help it is in Normandy. I couldn't even get to Normandy if I wanted to, and yet this book, by its intrinsic qualities alone, has made it there. What does a book do in Normandy? If I placed an apple outside on my window ledge, would it travel farther than an orange? If I went back two nights and placed the book on the coffee table, would it still be there now?