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cfmceroz.bsky.social
cfMC FEROX
@cfmceroz.bsky.social
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cfmceroz.bsky.social
cfMC FEROX @cfmceroz.bsky.social · Sep 29
cfmceroz.bsky.social
DEATH FOR FASCISTS
KILL EM ALL
November 8, 2025 at 9:55 AM
cfmceroz.bsky.social
October 17, 2025 at 4:40 PM
cfmceroz.bsky.social
"THE PHOBES" long lost late 90s san francisco rock trio. I learned I was the only one left on earth with these recordings so I remastered them up to youtube here ya go
www.youtube.com/watch?v=BqLU...
The Phobes
YouTube video by cfmceroz
www.youtube.com
October 11, 2025 at 7:09 PM
cfmceroz.bsky.social
October 6, 2025 at 1:36 PM
cfmceroz.bsky.social
not these mfs
August 31, 2025 at 4:07 AM
cfmceroz.bsky.social
congratulations NYT bestseller, Bryan Smith
bryansmith.bsky.social Bryan Smith @bryansmith.bsky.social · Aug 27
Well, look at that.
Publisher graphic announcing the debut of Its the End of the World As We Know It: New Tales of Stephen King’s The Stand at number three on the New York Times bestseller list.
August 28, 2025 at 3:49 AM
cfmceroz.bsky.social
artist "Deep Thawtz"
via @melk415.bsky.social
August 20, 2025 at 3:54 PM
cfmceroz.bsky.social
nice to see you @sfguy1818.bsky.social
my hard agree thread re: gabino iglesias: x.com/cfmceroz1/st...
August 17, 2025 at 9:56 PM
cfmceroz.bsky.social
August 16, 2025 at 11:35 PM
cfmceroz.bsky.social
August 10, 2025 at 2:32 AM
Reposted by cfMC FEROX
columboscreens.bsky.social
August 10, 2025 at 12:00 AM
cfmceroz.bsky.social
civil war 2025: the stochastic terrorism of the fascist trump regimes death-by-chaos approach to destroying society & democracy in the USA is purely in the service of the on-going power, wealth, & resource consolidation efforts of their demonic private oligarchy
August 7, 2025 at 2:53 PM
Reposted by cfMC FEROX
renemagritte.bsky.social
The Banquet #artbots #magritte
https://botfrens.com/collections/61/contents/1212611
This canvas is the last, largest, and most impressive of four oil paintings of this title; the three other paintings are all dated to 1957 (ill. 851–52, and p. 272, no. 857). There are also five versions of this image in gouache, starting in 1956 and extending to 1964 (ill. In ibid., vol. 4, 1994, p. 193, no. 1421, p. 198, no. 1429, p. 273, no. 1563, and pp. 275–76, nos. 1566 and 1568). Magritte first realized the idea and conceived the title for this series in the first of these gouaches completed in 1956 shortly after he announced to Mirabelle Dors and Maurice Rapin, in a letter of November 9, 1956, that "Le Banquet" was one of his latest "finds" (ibid., vol. 3, 1993, p. 267). The little sketch in this letter shows the main motif of the sun visible before a clump of trees set in an unspecified landscape. In the first oil version (as in the earlier related image, The Sixteenth of September, 1956, location unknown; ibid., vol. 3, 1993, p. 254, no. 834, ill., which shows the crescent moon on a large tree), the clump of trees is set in a meadowlike clearing dotted with large stones. In the second oil version of The Banquet, as in the Bergman canvas, the woodland glade is replaced with a stone parapet or balustrade, whose top is lit by the sun's rays. This feature suggests a parklike setting, a domesticated concept of nature suited to Magritte's deadpan, realist style. The proportions of the objects in relation to one another also differ from canvas to canvas; in the picture under dis­cussion, the sun looms larger in relation to the trees than in other versions and appears therefore closer to the viewer. It is interesting that, although the motif in essential respects is identical, significant variations mark each version as a distinct image. The Banquet series is a development of another se­ries on which Magritte had started working in February 1956 and which he called The Place in the Sun. In these pictures, Magritte focused on the Surrealist idea of displacement, but with a particular twist. One object was superimposed on another larger one to which it was unrelated. The original series included an image of a seated scribe superimposed on an apple (ibid., vol. 3, 1993, pp. 252–53, no. 833, ill.) and Sandro Botticell’s Primavera silhouetted against a figure in a bowler hat seen from behind (ibid., vol. 3, 1998, p. 258, no. 837, ill.). Magritte's approach in these pictures resembled what he referred to as "Objective stimulus,'' a term he applied to those instances in which he replaced an object familiar to a particular context with one related to it but out of place, as he did in his 1933 painting Elective Affinities of a huge egg in a birdcage (Paris, E. Perier; Sarah Whitfield, Magritte, London, The Hayward Gallery, 1992, exh. cat., no. 60, ill., n. pag.). As he explained to Rapin, The Place in the Sun is if you like an 'Objective stimulus' with the difference that the image which comes 'on' another has a still greater charge of strangeness (ibid., vol. 3, 1993, p. 253). In a subsequent letter to Dors and Rapin, Magritte wrote of The Sixteenth of September, "I have continued with my 'Places in the Sun' but by now the title is no longer suitable for a big tree in the evening with a crescent moon above it!" (ibid., vol. 3, 1993, p. 254). The object that would have been hidden (crescent moon, sun) is now visible, hiding part of the object that would have hidden it. These works are striking examples of Magritte's interest in the categories of the visible and the invisible. In a letter to André Bosmans of September 25, 1964, Magritte explained: With regard to "the invisible," I understand that which is not visible, for example; heat, weight, pleasure, etc. There is the visible that is seen: the apple on the face in The Great War, and the visible that is hidden: the face hidden by the visible apple. In The Banquet the sun hidden by the curtain of trees is, itself, visible (René Magritte, Lettres à André Bosmans, 1958-1967, ed. by Francine Perceval, Brussels, 1990, p. 383). According to the above criteria, the sun hidden by trees is an example of the "visible that is hidden." In the Banquet series, Magritte carried the implications of these reflections one step further: he actually rendered the sun visible by creating a visual conundrum, in which the sun is not displaced from its customary context, but rendered strange. At this time Magritte seems to have been interested, moreover, in the varying quality of light at different times of day. Of the second version of The Sixteenth of September (1956, Antwerp, Koninklijk Museum voor Schone Kunsten; ibid., vol. 3, 1993, p. 257, no. 836, ill.), he wrote to Dors and Rapin on August 6, 1956: "I have just painted the moon on a tree in the gray-blue colors of evening" (ibid.). In the Bergman version of The Banquet, the strong red glow of the setting sun is framed by the darkening landscape, a naturalistic effect that further dramatizes the "charge of strangeness" (Magritte, quoted in ibid., vol. 3, 1993, p. 253). The Bergman painting also has a strong formal quality, with the sun as a pure circle in the center, balanced by the strong architectural horizontal of the balustrade. In this respect, the picture recalls Max Ernst's Forest series of the late 1920s (Ernst Katalog, vol. 3, pp. 180-209, nos. 1140-96, ills.), where the circular forms of sun or moon work pictorially in both an abstract and figurative sense. –Entry, Dawn Ades, Surrealist Art: The Lindy and Edwin Bergman Collection at the Art Institute of Chicago (Chicago: Art Institute of Chicago, 1997), pp. 172–74, cat. 86. Lindy and Edwin Bergman Collection
August 6, 2025 at 3:50 PM
cfmceroz.bsky.social
August 3, 2025 at 12:49 AM
cfmceroz.bsky.social
here comes a month of all night golden gate park floodlights
July 31, 2025 at 12:25 PM
cfmceroz.bsky.social
July 31, 2025 at 2:25 AM
Reposted by cfMC FEROX
garfdude.com
July 25, 2025 at 2:40 AM
cfmceroz.bsky.social
Darrell Epps last book, Alien Phonics Primer, is back at number one best seller in poetry as it is now being read carefully enough to also catch categorization as "protest poetry"
cfmceroz.bsky.social cfMC FEROX @cfmceroz.bsky.social · Jan 25
oct 2024 - jan 2025 new poems from Darrell Epp
July 28, 2025 at 3:39 PM
cfmceroz.bsky.social
July 27, 2025 at 12:09 AM
Reposted by cfMC FEROX
isaacshauntedbeard.bsky.social
March 8, 2025 at 4:23 AM
Reposted by cfMC FEROX
itstrashculture.bsky.social
great, now i’m wishing i didn’t get rid of the earlier Ben Cooper figs i grabbed a while back.
July 22, 2025 at 5:46 PM
Reposted by cfMC FEROX
cfmceroz.bsky.social
July 20, 2025 at 6:13 PM
cfmceroz.bsky.social
marketing research. synthetic data. ipsos/stanford june 2025
"respondent burden"
"proprietary ground truth database"
they'll already segment your target audience & give you however many fully AI people representing the segment that you can ask whatever you want. or,
Meet Your New Respondents: Research with Synthetic Data
YouTube video by Ipsos
www.youtube.com
July 19, 2025 at 11:48 PM
cfmceroz.bsky.social
July 19, 2025 at 4:32 PM
cfmceroz.bsky.social
Darth Plagueis
James Luceno
1st ed 2012
July 17, 2025 at 3:01 PM