details from life on the Dopaquel Peninsula, scott richard
horse with no name
on the Dopaquel Peninsula the wild horse is the staple food of the people.
there are large herds which roam the western side of the peninsula in the Geodon Valley.
only 8% of the diet of the people who live on the Dopaquel Peninsula is comprised of meat.
it is not viewed as a luxury. horse meat is viewed as an ingredient in the same way we might view salt or sugar.
the incredible gardens of Dopaquel Peninsula provide a great deal of the ingested "nutrition" that is necessary. but the residents of the Dopaquel Peninsula are not concerned with all of that.
they have been committed to the values of CLEAN AIR, CLEAN LAND, CLEAN WATER and CLEAN FOOD.
in balancing these four principles, they realized that you couldn't use ANIMAL creatures in more than 10% of your diet without imbalancing the stuctural whole.
Lunesta took this even a step further and chopped off their daughters' arms so that the men would have to tend the women and LITERALLY would never have time to create empires or food monopolies over other peoples.
the armless women of Lunesta are signs of this cultural sacrifice. while it may seem barbaric to us, this "amputation" of the arms alters every aspect of the human condition.
instead of allowing the human tendency to create war against their environment, the men must tend to the children as well as the armless women.
this has FORCED the child-engineering process to be shared by the men and the women.
which means it is the FIRST true patriarchy that has ever existed on this planet.
and i understand that this can be hard to understand, but it is a very successful model in Lunesta and the social peace that has descended by taking the arms of women away when they are born is much like circumcision in the historical MATRIARCHAL societies which have used and continue to use this horrifying form of infant torture to create militant, desexualized male children with a CHIP ON THEIR SHOULDERS. men WHO HATE WOMEN.
but unlike circumcision with its attack on the male GENITALS, the removal of the female arms puts both "sexes" into a position of weakness.
in Lunesta, this has become the backbone of their culture.
and perhaps, unlike FOOT BINDING, the love of this action has created a balanced society where the social evils of men and women give way to care and maintenance obligations.
this seemingly absurd and devastating amputation has rendered a rather idyllic and civilized society.
the armless beauty of the women of Dopaquel is seen in their eyes and the way in which their dependence and total need of care and love from their men controls the balance of will.
the village of Lunesta is all about peace and sleeping easy at night.
it's fking MEDZ after all....
the diminished hope is only your merit : liquid painting, scott richard
one of the preconceived concept of this modern world is that there are “closed operating systems” versus “open operating systems.”
like so much of our development, converting from one society model to another throughout another construct we call time, we like to tell ourselves about the primordial ages, the barbarisms and how we used to be.
but isn’t it more likely and sincere to associate more closely with closer time?
what sort of word play and grammar games of the mind are at work when we start comparing ourselves with a “creature” form of ourselves from a distant past?
it’s usually to sell energy and refrigeration. it’s usually to build dams and roadways.
so i guess you can tell when the power people are around.
they talk a lot about imaginary gods and dinosaurs.
they make machines to “date” carbon 14 because carbon thirteen is still a minor and isn’t allowed to date until next year.
and people eat this storyline up like it’s madness.
and as an artist with a sense of humor, i created an entire genre of painting based on their sciences.
it’s called liquid painting.
when i was young, i heard about these “x” ray machines that could see through the layers of paint and take pictures.
of course, i knew it was a fabricated lie to discourage forgers who weren’t on the pay check of the already paying payers.
they didn’t have a machine that could take pictures of the layers of a painting. and if they actually did have a machine, they certainly didn’t have the data necessary make any of it true.
in fact, they were just really trying to drive the price of davinci’s worth into the “astronomical” range, but still put a genuine price tag on the insurance it would cost each year.
in 1963 we see a very interesting contraction of the business market.
after being assessed for 100 million dollars of insurance to be moved to new york city, private security stepped in and took over because it was determined to cost significantly less:
"The highest known insurance valuation for a painting is $100million (£53.55 million) assessed for the move of The Mona Lisa (La Gioconda) by Leonardo da Vinci (1452–1519, Italy) from the Louvre in Paris, France, to Washington, DC, USA and then New York City, New York, USA for a special exhibition 14 December 1962 to 12 Mar 1963. However, insurance was not concluded because the cost of the highest security precautions was less than that of the premiums.”
and this form of fakery took its precedence and the “fear of forgery” aspect of art had a new bully protectorate.
now, money had a safe channel to pour into.
there was a science standing at the toll booth, taxing each passage.
if art was valuable, it had to prove itself by being insured.
obviously the insurance game had begun centuries before.
gaming will always find its way into business because the spirit of gaming is actually more powerful and older than the spirit of cultured business.
and art is indeed cultured business, for who really gives a shit about a painting by van gogh?!?!?!
if a white man in a dark suit walked up to you with a painting of sunflowers or a briefcase with 10 million dollars in cash, would you really choose the painting — especially if you weren’t allowed to sell the painting?
although the myriad forms of art forgery and antique reproduction, culture theft and illegal trading certainly comprise THE backbone and accoutrements of all business, a painting is never going to be anything more than canvas, paint pigments and whatever other dried things stick to the flat surface.
that’s all it is.
it’s just a painting.
but for fun, cuz i like to have fun, i can prove how little these jokers with their millions and millions of dollars of high end x-ray machines can’t tell us anything about paintings.
each liquid painting has about fifty finished paintings below the surface. each layer is unique and represents a different time of day or night. the subject matter goes through its own transitions — the chaotic and evolutionary death of the exploding dahlia. just like people in space, but prettier.
i’ve been working on this project for over three years and finally i’m reaching a finishing point in the story.
and i welcome these modern scientists who tell their stories of fakery with so much sincerity.
please, demonstrate the power of your machines.
i want to see each layer.