HAPPY NEW YEAR!!!

From Nemesis Intellectual Communications!!!

by NemesisIntellectual---Adetokunbo Oluwafemi Ige 

     

'EDGE OF EXTINCTION IS HERE!!!'

Many of you know us as the intellectually based website for everyone, from Great-great-grand parents to their Great-great grand-children; in this episode of that theme, I'd like to introduce a terrific new series of educational material for those of the enthusiast of planetary survival intelligence. The material has taken the form of a card game for all ages called 'Edge of Extinction' (fancy title, huh?). This is no ordinary game of cards to the player though, and I found it's concept very intriguing. It is a collectible trading card game focused on the preservation of what is left in the wild, in Pennsylvania, but generally associated with our planet in whole. From what I've been reading---It's great! 

     Edge of Extinction was created by the family of a good accomplice in my Brookville writer's group, along with he himself, Jason Strohm (and family)---staging a memorization and quiz approach to identifying species of our own wildlife, plants, cave structures, (etc.), and the necessities needed and importance of preserving them, an awareness that is both fun and educational. It stabilizes progressive thinking in our new and growing world of tech, age, and ever-evolving era. A conscientiousness that the family seems to share enthusiastically (you guys really gotta check this one out!). There are several in the series and seem to be updated regularly. It's loads of intellectual fun for the home.

     To express your interest, you can contact through the website twosistersinthewild.com and learn more about this extraordinary product and even a little about the working family who created it, with environmental interests and concerns, and the the ethic to keep things moving in terms of sharing and shaping awareness. Once you get to the webpage, simply click on the menu icon which will be to the far right of the title TWO SISTERS IN THE WILD, LLC. Then simply fill out the notification form and you're on your way, to a great experience, in natural family fun! Intellectualism at its' finest! Which is what we promote here at Nemesis Intellectual Communications---and in various forms. 

     I really like the look on this one. And from what I know about Jayson, he and his responsive family are heavily into this agenda about education, and how it can work with the modern world. Won't you please, join in...?

To view more on this at the site click here.

This is the gameplay in action...

Arts2- Philadelphia's classic culture of Art and the Arts:

Welcome Back!!! The wonderful journey through Philadelphia and The Arts continues in this episode. There is much to see here and I've added a variety of magnificent pieces to the series, sure to satisfy the Intetests, and add the certain depth to the scene with this one. Refer back to episode-1 for great introductories. This one here will move at a slightly faster pace, and The topic will be Sculpture and Wares. I've also remained two paintings, including one still-life—for color.

Here we go. Enjoy.

GUSTAVE JOSEPH CHERET

FRENCH

BORN 1838, DIED 1894

FOCUS:

Le Vernissage (The Opening), c. 1892

Glazed earthenware

Made by the firm of Joseph-Theodore Deck, Paris, 1856-1904, Designed by Cheret.

*A gift of Priscilla T. Grace in memory of Ana d'Harnoncourt.)

     This glazed piece of earthenware was unique to me, not only because of its' cast style, but the obstacle that my own eyes could not elude, and that was its swimming-bluish turquoise interior, in contrast to its' pale white outterlay. For a simple water-bowl (if this might have been its' intended use), the color-scheme works out magnificent. Small cherubim presumably, and plant vegetation, are what adorn the exterior lips' cicumference—and its legs fold underneath like leafy springs—stabilizing, balancing the heavy round object (perhaps 50 or 60 pounds easily, seemingly as solid as cast-iron to the eye, when viewed in person. This French original from around 1892 showed no sign of timewear nor evitability. The small naked children seem to be jumping from its mouth).

HENRI FANTIN-LATOUR

FRENCH

BORN 1836, DIED, 1904

FOCUS: 

STILL-LIFE WITH CHRYSANTHEMUMS, 1862

OIL ON CANVASS

     For those who are not as familiar with the concept of congruent art adjacent realism, here is just such a piece to most likely first capture the eye of interest, with its' dramatic scene of wild chrysanthemums of various color and breed. The flowers just fall all over the face of the canvas, at the viewer, shadowed perfectly according to the approach. Leafy and green between each and the stems are marvelous. This piece really, truly is, fighting its way to escape the canvas—the phantom zone, by the artist to his work.

*

--FOCUS:

INKWELL, c.1915-33

GLAZED EARTHENWARE

MADE BY PLASTEELBAKKERIJ P. van der WÀNT GZN. IVORA WORKS, GUODA, NETHERLANDS, (1914-1965)

     This fine piece I found in mint condition—(including its' lid)! The interior is extremely unmarked, as the quill and like-fashionedink-drawn pens of the closing era may have inflicted. It seems to have been designed to hold about two-ounces of ink at a session; and has much more beautiful body work to show-off as an illusion. For those who know me as a proficient literary writer, this piece would be irreplaceable in my collection from its' era. 

     Its' origins are in Holland, and the exterior patterns compliment this. This is just truly a sparkling piece! The inspiration for writing just may have been phenomenal. If any work got done at all. This piece, was flawless I tell you.

*A gift of Martina Schapp Yamin.

EDGAR DEGAS

FRENCH

BORN 1834, DIED 1917

FOCUS: 

Little Dancer, aged Fourteen:

Executed in wax 1878-81; cast inbronze after 1922

Bronze cast, tulle, and silk by the foundry Adrien Hebrard, PARIS.

  There are only twenty-five surviving of these novelties of Edgar Degas' passion with the young ballet and ballerina, and one of them—exactly two are held in Pennsylvania—one in Pittsburgh, and the other, here, at the Philadelphia museum. I found this one a beautiful and serene piece and full of classical pose. These pieces are very famous. Here's what the Museum's inscription read, about the fact:

     "Degas depicted young ballet dancers—in performances, at rehearsals, or at moments of exhausted rest—in numerous paintings, drawings, pastels, and monotypes. In 1878, he added to his investigation of theme. A young dancer named Marie van Goethem posed for what would be the only sculpture Degas exhibited during his brief lifetime. Originally executed in wax, and shown in 1881, the work daringly incorporated real elements such as the dancer's tulle tutu and silk hair ribbon. The sculpture was cast in bronze around 1922, several years after Degas's death."

     I have deep admiration for Degas's art, and this is one of exceptional expression of a persons' inner visions and appreciations being displayed in a self content. For all others to reason and try.

(*The donor to the Museum will be later posted on this one.)

JEAN-BAPTISTE CARPEAUX

FRENCH

BORN 1827, DIED 1875

FOCUS:

PRINCESS MATHILDE

PLASTER

     From the museum's inscription I was informed that Princess Mathilde was one of the most lively figures of Paris's cultural and social scenes. That, with a haughty gaze, she evokes the grand manner of French aristocratic portraiture here, and of our previous centuries. To say—The dignity of crown is a significant and weightful device. Princess Mathilde was also a favorite cousin and close friend of the French emperor Napoleon III. This sculpted piece showcases more of her as an individual, and enveloped in strong garments with authoritative and wisdomized cheek and posture. Truly, she seems here beautiful and educated.

*Purchased with the Fiske Kimball Fund and funds contributed by the Friends of the Philadelphia Museum of Art.

WILLIAM RUSH 

AMERICAN 

BORN 1756, DIED 1833

FOCUS: 

ALLEGORY OF THE SCHUYLKILL RIVER ( WATER NYMPH andBITTERN), 1872 CAST IN BRONZE IN 1872; ORIGINALLY MADE IN PINE AND PAINTED WHITE---IN 1809.

     I took a picture with this piece, because it is truly glorious. This Water-Nymph allegory has stunning feature, and command over the beholder whom should happen to encounter. What is its secret?—why such a striking command to the imagination? The answer is simple. Water-nymphs are beings of extraordinary fictional intrigue, from the likes of Homer, and Ovid, to all those who've been graced by their sandals. After all, who wouldn't want to encounter a being existed soley for the pleasure of sex, solely for the beauty of eye—solely for the stimulative imagination.

     The original version was carved in wood for a fountain that stood in front of Philadelphia's first waterworks at Centre Square, the place where City Hall now stands. Water spewed from the beak of the bittern, bird that frequented the banks of the Schuylkill River. Concerned about deterioration of the wooden original, which had been moved in 1829 to the new waterworks at Fairmount (later the site of the Philadelphia Museum of Art), the city ordered this bronze cast made in 1872.

*It was received on loan from the Commission of Fairmount Park.

PABLO PICASSO

SPANISH

BORN 1881, DIED 1973

FOCUS: THREE MUSICIANS, (1921)

OIL ON CANVASS

     What Pablo Picasso wanted to do is what he became famous for—interrupting the standardized art world in order to inject the possibilities of greater depiction through personalized unmanipulated sight. In this piece, if Three Musicians, this concept is exemplified. One can clearly associate art, with its musical bretheren, see the style of conversation mpaeison to and through original though-linkage, and give the message regularity, rather easily,on the first try. The jazz sunglasses, the funny-colored lively suits. All the way down to the stance—and the supposedly pose for the picture. Picasso was instrumental in proving that other dipictions—ways that are currently being seen—are available for art, and are being also utilized by our common minds. Therefore, I substantially favor the ethics of this artist. The work is not bad either---now understanding it.

*This piece was given from the A. E. Gallantin Collection.

FEMI IGE

AMERICAN of  NIGERIAN, NATIVE AMERICAN, and Complimentory Decents.

BORN 1976—

FOCUS:

SIGNIFICANT THINKING

Photography with the Writer and Visual Artist.  

 


   And here's me, in a tablet photography shot, with the famed statue of our Philadelphia great Rocky Balboa!—nearby the great stair entrance, to the famed museum (which politely adorns the background...). I couldn't resist. Not only am I such a big fan of Rocky, but because the crafted story of 'like' his, is a work of art. Nowhere has emotion run so deep, as to move entire persons and entire nations, and cross-color lines, and previous ethics in a 1980's set organizational is. And hope-weighing unspoken faithhoods (like his uncanny relationship to his genuine best-friend Apollo Creed)—for instance. Rocky, a man who revived a train of thought to a nation so as it would not lose grasp with its' own evolutionary forefronts that precedated it above all others. And then to the world: "Never give-up, when out to accomplish what it is that you have set out to do; the meaning which is greater than even you; absolutely—until you have accomplished!" (My own words of interpretation, non-verbatim).

     So, you see, I had to pose with this piece. To interpret and break barriers of my own. I was surprised, now that I'm grown-up, the statue has been moved to a new location (from the stairs-top, I believe). To see it again: THIS THING IS MONSTROUSLY HUGE! The crafter of the statue is—

So, that will wrap us up for this session, I invite you to do private verification studies on each of the individuals, and their work, for extra information, culture, and solidity in approach to casual coffeehouse conversation. Or for more information on the history of this famed and remarkable depiction of man in finest hours, drop comments in the comments-box below, (don't forget your email!), and share the site with your friends of like-conversation and honing tastes!!!

     Join us next episode when the theme will be the great American portraitist Charles Wilson Peale, master of the earliest persona and Presidents. "The 'Revolutionary' Man." You'll see astounding detail in this one. By the replicator of  the early images that helped shape our Founding nation. Remarkable significance and talent skill. Be sure to catch it. This one is not to be missed.

Later,

Adetokunbo Oluwafemi Ige

November 1st 2015

Nemesisi Intellectual Communications

Philadelphia's homeless reflect on the Pope's visit to the City of Brotherly Love - State, National and International - The Daily Collegian Mobile

Philadelphia's homeless reflect on the Pope's visit to the City of Brotherly Love - State, National and International - The Daily Collegian Mobile



"GOOGLE ME at Adetokunbo Ige Homeless Pope Visit. There are plenty of these stories on the presence of the event with me. My views help stabilize a community."

PAPAL VISIT 2015

The first Papal Visit by Pope Francis--2015
By Adetokunbo Oluwafemi Ige

     One of the mysteries of the Papal visit is the persona himself. Such genuine appearance, such a genuine approach has been Pope Francis to the public view. Through a great and particular era of change, immitigable circumstance because we have zero choice but to face it--Pope Francis has shined through it all. Giving the public satisfaction of the papal duty being served as deeply as possible and in good faiths. That could be done by such that our eyes could receive in him. Gay acknowledgement (orthodox on sexual matters, but liberal on social justice); erasing the race lines and boundaries; the sick the poor the homeless. The list goes on and on and on.

    All of this has been accepted as a leading figure whom caretakes his efforts, and speaks generously, crisply, through each attached controversy involved. "He has been doing the best that he can do, for the new public he serves, and public eye." and this is why I support the idea of a him, Pope Francis. The truth of what having lead-figures in our time, means--sincerity to this culture.

    Since taking over for Pope Benedict XVI in 2013--Pope Francis has championed the leadway speak against economic-inequality (which is a very significant idealism, and not at all unimplementable, to the imaginative eye), should the whole of human eye realize it as need. It is a very difficult challenge to speak like this in what we face, and his ethical showforce has proven, humble, clear, and brave. Attached to stance. Methodically, intellectually stimulating overall.

     His campaign is being socially distributed as this in Philadelphia as the preparations are being made for his arrival as we speak. It is not an expectancy-driven endeavor, as we do have a substancially modern figure in Pope Francis, here, by again--inescapable circumstance. It is fitting that when he speaks it is of ideals that are relevant to multi-stationed ideas. Such as cultural equality and individualistic equalities--which are two very touchy issues that have not been avoided. Pope Francis sees that a past doctrine can shape the future, now and in some day.

     The city of Philadelphia has been preparing warmly and vigorously for the past week. I've been seeing it all. The Cathedral where he will give mass has taken on memberance with his favorite painting--Mother Mary: Loosener of Knots, a print of which is for all observers and a lesson is there. And it hangs outside, alongside with shreds of similar intention pray cloth, that has been attached to a wooded dome-like woven structure and surrounding area, where a great number have already placed their prayers (I'll be offering mine this week). The mass will also be broadcast outdoors for everyone to see via digital monitors of large size. The successor to St. Peter, the 266th Pope. 

     In another tone --The anticipation is sometimes harsh. There has even been wanton speculation that it will not really be the Pope that visits but a stand-in lookalike prepared to mimic his persona and speak (with adorning chubby cheeks, and reading glasses...). Or that from the staunchiest of critics, that it is all an elaborate plot to lure ISIL for capture while they had come to create havoc and chop the Shakespeare monument to pieces (only yards from where I, as also currently homeless, sleep at nights). Lol!!!

Upload pictures as soon as I can!!!

    

Components of Writer's Blockage (series on literary writing, Vol. 1, No. 3)

Starting with Redefining the term.

    The term Writer's block can be misleading if you've ever heard me mention this before. The term, as it is stated goes beyond difficulty in accumulating executable ideas; it subliminally implies periods of total impossibility to tran-on-forth, with where you need to go, about the work.


     This comes from the way we perceive the term block, and how it is so trendish to the ear that it slips into the mouth and mind anytime our period of peak-fluency begins decline; and full-fledged sometimes, simply because we have finished a thought.


     One of the ways to eradicate this thinking is to literarily disbelieve in the terminology for what it was (in slang), this opens doors to find other written ways around this seemingly bolted one. It allows a particular cycle of appointment to occur (among the other things) and the fulfilling of a diameter until a pinpoint of the radius going inward is reached. Using a hypnotizing shrinking-circle approach, by spiraling into the work to meet its core--the organized idea you did not know, or would not otherwise configure. Then you can begin approaches to your fluency all over.--Bet you'd have a lot to say.


    So the new term should therefore be re-termed blockage (or to that effect), Because in this way it ill-eliminates the possibility of recapturable system: established in more modern times. And is unique to the individual, who will leave traces of further progression, because of this process. Thus continually enriching the field, our total overall subliminal goal--It Shines


"SO TAKE THE TIME TO STAND, AND DELIVER..."




--Adetokunbo Oluwafemi Ige
Nemesis Intellectual Communications
September 19th, 2015.

PHILADELPHIA'S CLASSIC CULTURE OF THE ART AND THE ARTS!

     NEMESIS INTELLECTUAL IS A LITERARY SITE FOR INTELLECTUALISM AND THE CULTURE OF THE ARTS.
-In this theme, I have taken advantage of the opportunity to visit the famed Philadelphia Art Museum, which is located on the Benjamin Franklin Parkway, near Center City. Here I bring to share this experience with and for those awaiting the other portions of the Nemesis site to develop and to continue to grow intrigue in the culture of the fine Arts.


By Adetokunbo Oluwafemi Ige





A tour of Classical Art during my recent visit to the Philadelphia Art Museum   (Part I, series)
     Many people know that the Art Museum of Philadelphia holds some of the world's most extraordinary collections. This week, I had a chance to appreciate those wondrous works for myself and the opportunity to in return, share the experience with my readers and followers. I was able to see in person these remarkable works, and photograph with some of history's most famous and--important!--artists of various genre and eras. I found it fascinating to feel myself in such an environment and within my own love for the Arts. The Architecture alone of the museum itself--is amazing! Featured below is a brief run down of the connoisseurship of the likes of the incredible: Renoir; Robert Rauschenberg; Pablo Picasso; Mary Cassatt; Vincent van Gogh; Pierre Bonnard; Eduard Vuillard; Paul Cezanne; Edgar Degas; Berthe Morisot; Walter Stuemfig, Jr.--and Charles Wilson Peal. Along with many many more...  

     Take the travel with me. I'll leave you with more insight--perspectives on how the work may be viewed from my expertise. Also catch a few brief biographical informations on the work and the artist, constructed to arouse more hunger for your travels when alone.

Here's just a few. Ready? Let's Go!

Robert Rauschenberg

AMERICAN
BORN 1925, DIED 2008
FOCUS:
ESTATE (1963)
OIL AND SCREEN PRINTED INKS ON CANVAS

     One of the first artists to combine found images using the silkscreen method and process ( a method in which design is imposed on a fine-mesh screen with the blank areas coated with n impermeable substance, and then transferred on paper or canvas by pushing paint or ink through the screen). Rauschenberg crated this masterpiece of the uncanny experience of American--Reflection on fast scale. The blur of confidence, labor, faith and haptitude--for those who might ever get to know it, intimately, in summaries of mind. This one is called: Estate. 

     This piece is full of complexities in such a sphere, and many mixed politics of thought that complete an overall fashion-worthy view, to the artistic-conceptualism-inclined enthusiast.

     The artist began applying his own snapshots, newspaper photographs, art reproductions; thereby exploiting the wealth of mass media source material for expressionate and realistic existial purposes to contrition a genre. Banalism all the way to and through into the personal--this artist exceeded his way also into depth capture of the monumental and the public.

     Michelangelo's painting Last Judgment, the Statue of Liberty, a 1962 rocket launch, and a glass of water--help propel this piece of "figuratism"--works of particular facets and tastes. Which explains a little bit more about the culture. Drawing immense power from the tension between photography and painting.













MARY STEVENSON CASSATT
AMERICAN
BORN 1844, DIED 1926
FOCUS:
MARY ELLISON EMBROIDERING, (1877)

OIL ON CANVAS

     This gift to the museum from the children of Jean Thomson Thayer--captures an attractive young woman en pose from her skillful handcraft of fine-embroidering. The background is dark, and shadowy, the sitting chair shows innate solidity and well-displayed inertia. Meanthewhile, a lovely subject of assertion and innocence displays a contrast brightness, and vigor-- in a craft well-respected inside the fields of women and of the day and history. The subject, Mary Ellison, is captured in her discipline and revealed element--no doubt a characteristic molding of how she was known by those who were opportune to behold and intimate with her as a person and persona. Her smile is meek here, slightly puckered and extremely tasteful, with striking eyes-to-nose. Her choice of dress shows the dignity of such as the era--and gives the poise to her posture needed, for the craft-capture and to make this piece stand out with her keenness and simplicity intrigue.  Delicate hands and commercial intent, certainly are a fine addition to the completed piece. Maybe she even wills between conversation, huh? I posed with this one--appreciatively. Such a fine female of our artists, is Mary Cassatt.

   

WALTER STUEMPFIG, JR.

AMERICAN

BORN 1914, DIED 1970
FOCUS:
PORTRAIT OF MRS. LOUISE C. MADEIRA IV, (LATE1940'S)
OIL ON CANVAS
    
     I found this piece intriguing, while of course purposary--to the field--as if the subject dallied, (I imagined--) with the subliminal entertainment of enchanting the whole idea of being portraited, perhaps even after a long bout of rhetorical oriented conversations over cheese and slender wine. Of course,  to insinuate such a thing would surely ruin the texture of the gazer's ambiance to the finished work. But  I couldn't help it.
     It's just a whim, I suppose...--of a persona and personal environment meant to be as dis- perplexive as possible; not to mention the withdrawal of equally subliminally being forced unawares, that the friend-artist may do his work.
     This piece's (literally) glowing naturalisque color-beyond-believability, and its' fashioned aperture to the particular eye; for those who may very well appreciate art, the museum's description of the Dior-style gown, this piece may have originated "appearingly" about 1948. And is a well example of the new-style Dior new-look trend; a telling record of the sophistication of the *Tyson's lives. Crafted art Parisian chic combined with the Florentine portraits of the 1500's which were painted by the famous Renaissance artist Pontormo.
     The backdrop furniture I also found to a particular taste of mine and reminded another part of me of Grandma's (--in an extreme classical sense). Patterns scarce in ordinary fashion today, and designed to capture significant thinking and take them into various aspects of a peculiarly natural particular world.
      So, I indeed posed with this one. If you ever have the opportunity to do so, make sure you see it for what it wants to be. Then take the opportunity to learn more.

*A gift to the museum by Helen Tyson Madiera.



EDUARD MANET
FRENCH
BORN 1832, DIED 1883
FOCUS:
Departure of the Folkestone Boat, (c. 1868-72)
OIL ON CANVAS
    
 (On the left)--by treasured artist Eduard Manet, there is the Departure of the Folkestone Boat. A clever piece, captured against onlookers and those empassaged upon the steam vehicle of the roaring waters. The depiction creates a "stolen" approach (and by creates, I mean, that

this approach may often if not always look unintended, by those keen in eye and interested); where the subjects are not the ship themselves but rather a frequency that manages to give the capture a "ghostly" sort of appeal or presence (especially since steamships are no longer in fashion)--all the way through the idiom that people really do exist, and seemingly always did; on the edge of the horizons of subtlety and can in fact be still-life no matter absently intent and how. And the waters give suggestive background, and a sort of humorous irony into all this. If--my guess is right.
     the paddle steamer here is heading from the French port of Boulogne to Folkestone, across the English Channel. Passengers clamber aboard while bales of dry goods await loading (according to Manet's parallel emphasis. It seems that he could read the thoughts of the outcome.

*This one was sold by the Durand Ruel Gallery, and originally of the Mr. and Mrs. Caroll S. Tyson, Jr., Collections (--To the Philadelphia Museum). Manet signs his name on one of the bales, as if his artistic genius too were a product of export.

CLAUDE MONET

FRENCH

BORN 1848, DIED 1926

FOCUS:

The Japanese Footbridge and the Water Lily Pool, Giverny (1899)

    (On the right) In this piece by Monet one is literally swimming inside the texture of color--against the working eye. Attempting to define the piece itself--the distinctions of the trees amongst themselves, from the natural land vegetation tallish grass; even the water-lilies of the working stream which is even moving or still; and the flowers involved as their blossoms.

    The light from the sun finds several attemptable pathways into the eye of the viewer, often glancing off trees or poking holes, dancing on the "laid" bank, and reflecting from the lilies and blossoms in patterns. Highlighting the bridge but never over-striking it. The light in this one is what centralized the viewer's view. The bridge, by the way is multi colored, a decorative of flowers overlying moss.

     I photographed between these two pieces not because of the slight similarity namesake in the two prominent artists alone, which would serve to establish that there is certainly a distinction between the two as one learns more and familiarizes a pairing mind when suggesting the different tastes, which aid to solidify memory into comparison aware and in the subliminary tight form, no, not this alone. But that the two pieces actually hung together on the wall in this way and it was either take it (the picture), with my necessary learnings; or risk the disflattering accusation of art-theft--attempting to re-position what the museum already see as "fit". And also--I really liked these works, as the stance and pose proves.

*Of The Mr. and Mrs. Caroll S. Tyson, Jr., Collection.

That will complete this month's travel through Philadelphia art, with me at the Philadelphia Museum of Art. In our next segment, on the continuing series, I will be focusing my efforts on an artist whom certainly much more credit than is generally given in most of the (in-person) social streams that I have encountered. He is a favorite of mine, his name is Charles Wilson Peale! As you can see by the bottom note in the photograph, I had lost much memory space, gathering hundreds and hundreds of specific photos for this project. I'll return to the library and retake the picture as soon as I can, and exchange this one for the better. The capture in this one reminds me of my end of the day from work, with a sudden visitor. Charles Wilson Peale is extraordinary, and has many-many more dynamic works.

I'll also go into some of the works that tourists might find around the town, by our famed Mural-Arts program--including a real-life depiction of Dante's--Gates of Hell. And a few more, in fine sculptures and pottery. Plus always more paintings!



For all my fans,

Signing out,


Adetokunbo Oluwafemi Ige
September 16th 2015

Nemesis Intellectual Communications

     

    

THE WRITER. (HOMELESS)

BY ADETOKUNBO OLUWAFEMI IGE.

    You know, a lot of people see the site and review the writings with such highly and intentive regards that one thing often escapes the evaluations involved within the scenario--and that is the fact that the way that I live such a writer's life on the move that i am indeed considered homeless, among my technique, style and approach. Only few who are close to me know this about me but right here I share it publicly, in private site disclosure, to the world!
     I go about a homeless methodology and approach, to cover the world on an intimate level with myself between two bodies of thought. I've always been this way, preparing for the new mellenia, absorbing and redistributing the informations and contritions that habituate the land-line approach, and that I therefore encounter. That happens to make mankind compelling because he is earned, traced and tracked.
     Fiction or nonfiction. Video or written literary: The components are all the experienced haptitude molecules around us! Never to be outdone by our own performance. I am known for preserving and attacking this route; stabilizing and injecting thought-provocative pieces that intrigue the mind--cultivate and enhance the field and field mechanics. Wherever we go in life, Take us for who we Are!

   


   

On Electronic and the morals of Historicalized Publishing.

         

          "We will proceed in a scattered beginning."
          --Adetokunbo Oluwafemi Ige


My objective here is to promote the satisfaction of e-publishing, while explaining the structuralization of previous publication executions, and techniques.

     The electronic books are now here as a major part of traditional publishing. Writers are flocking to the independency of the field in newwer ways full throttle with exuberant eccentricity and inquizotry --on how to best approach, and how to compliment the past legacy. The advantages the e-industry promised are fulfilled, the pace-prediction of growth is being formidably overshadowed by the expansive understanding that we deal with when and while delving what the true opening of world-mind can do. We analyze, we develop, we adopt.

     This is technology's true nature when we realize how it is really our general (and organized) mind as one whole of individualities, materialising tangibilities. What greater respect than approaching the way it has touched us through the Arts as our culture, and specialized writing for mass or privacy? We these our intellectual properties. We constantly call for more.

     We had analyzed some critical problems facing both individual publishers and the industry as a whole. We drew fundamental understanding of principles and best practices, to focus on writing and the publication structure to close in on a specific, information processing and publishing framework. We introduced the Open eBook Forum Publication Structure (a widely used XML-based content format), and presented it as a foundation for high-performance electronic publishing. And this message is about how and why we create a history when intentional.


-AOI
June 22, 2015
3:04pm

Applying that Jibber-Jabber (Series on literary writing techniques. Vol.1, No.2).

     There are many times that I run into that avenue where the various' writer's mind of its own, ideals a 'jamble' and seems to end the division of writing or story--even before the words themselves have finished printing themselves on the page or glowing screen. It is a ghostly feeling. that whether or not I will be able to capitalize on my own mind's capacity or capability, effectively and precise, as equally as I know the visions are there. In a gesture of reassuring, I follow a method previously described and utilized by many more powerful writers whom have influenced me by the individuality. Twins in this fashion only in the small areas where my mind consistency has ownership capacity--I am a big fan of the premesis of ownership of one's own work, a true capability, and this is how the particular explanatory tale came to be manifest inside this essay.

     So I weave. I weave and weave, web-spinning those neurotransmitters into overdrive of the story or piece, fiction or non-fiction (including vocabulary); creating a thunderstruck quantitatively striking difference of where the original work might have went. This is what also helps achieve a small secret goal of mine, which creates a billion ideas inside the mind of the reader (as well as) in every single line, of my constructed writings. And this is just me, I'm afraid--and I'm not ashamed. lest  I would never love to read, and evocative readership would meet its tragic demises to other components of my content creative mind (and of course I believe that this will never happen). Yet it might. Even at times when the work may be duly considered, to the reader who knows what she-or-he reads. And this is a varied approach. So I weave and weave my silk organizationally defying an editor's previous ethics of standing standard, the same as land-level common woman or man. Writers!
    
      Until the story tells a story within itself, within itself-within itself, itself; and anecdotes and rare periodic architecturalized frustrations about this process are vastly permitted to season the stew. So all comers can have the opportunity to sip from my pen (if the work makes one gag) and laugh and soak up blinding light from the horrible glowing screen from beneath the closed lids of the rest-reflection, and with cold pleasant eyes (--if the finished product is any good).

      Literally not literally for fear that as lightningly fast, I'd never sell a work. Hahahahahaaa says the villain. A joyful sky versus the pouring rain, yet we must all get our inspirations from somewhere. Mine are my favorite. Writing is Bliss.

1.          

Creative Writing to Secure Maximum Potential From Constant Idealism and Self-specified Demands for the Intellectualist!!! (Series on literary writing techniques Vol. 1, No. 1)

Literary Primary focus: on Integral Roles of structure and co-minglance of body content, for select and favored portions of creative texts and retention of ideas for further cultivation in writing. 

("Avenues of the tiers.")

     I am a writer who savors several favored text portions in each of my creative works. ALL THE TIME. What often seems merely grand possibility may often flash by as and  be as uncomprehensible as say, the apparition that dark lightning might be to the modern discoverer of intrigued concepts ("We know it exists")! Quite quickly ideas escape and elude us in flashes going into entire cities of other avenues, galaxies --exactly while engaged in writing the significant portions that we also love most in other of our own texts. So how does a person retain and capture these? Before the multi-voluntary moment has passed into the so-called blackhole of merely scattered returns, it matures into a point of frustrating disappointment, conquering the work...


     The more this phenomenon takes into other directions where lies the immediate focus, the more struggling our "pen-or-pecking" despairs to retrieve the dangling and sometimes flying-away idea that considerably makes up our human make-up as well as that of our story or writing in progress. I've found this to be an awkward time, to say the least, for the writer. Quick-noting, jotting--may prove interruptive though helpful, distractive though salvagatory. If the correct mind is not in play (never throw away your working tools. Manage and re-manage until the organization about it approaches perfection!) -because the possibility is the loss of pertinancy of direction which were your primary focuses in the writing, this also creates the fear of disarray. But all of this can be captured effectively by merely training the capacity distribution through niches of our own personalized brain and dedication.


     Everyone has this so-called capacity or we would simply have deceased to exist having any type of ideas, altogether. The same is equivalent in both reading and writing. One method of training is dead-navigating while fluent in write. Leading by tiny details and implicatories towards the avenues achieved by practicing the craft-itself and while during the composition itself, before the editing process. Integrated with the fast mind. Notes may often prove worthy notes, similar to the research of the self-being. Most worthy!


     Especially when falling in love with the "editing process," of overview. The best writers also love the editing process, while writing. Key ingredients were "preparated" (so to speak), others, that you never suspected, were capable of solid re-materialization, yet those you knew were already solidly there existing. Key word: MATERIALIZATION. Is a fanciful way of calling this anti-negation. It lets one create activity in future continuance while developing and strengthening photographic idealism that can be recalled at will, and then called again: expression. It can be managed, and while also deeply into forefront navigation. That is, the techniques that you yourself are continually creating: for others subsequently to appreciate and intrigue through other forms of interpretation: Storyline, byhaps, and for intricating the plot, or even journalism! It never seemed so possible! Harvesting the Gamma-Rays of our own dark lightnings within our sustainable writings, capability in unfailed idea management. These are the beings that we are however the turn out. I am a journalistic and fiction writer that wishes you well.
     Best of luck in the writing...


A.O.I.
May 21, 2015

SELF COMPLETION:Of all the vivid tales about realizing dreams. . .

SELF COMPLETION: Of all the vivid tales about realizing dreams. . .

     Do we even have the initiative to ponder, the ways which motivate us to happiness. Have we not even survived this long as the human race, because of this engine, simply because of its talent, perimeter, consistent capability? Through the throes of trial and error, hurt and distinction: have we not found satisfaction to an immeasurable and invaluable component that factorizes incentive for that which is worthwhile, namely: continuous life. . . ?

      All of this is simply because at times, in certain perspectives, we are a "People of the Dream"-as some might put it. Humanity. The ones among organisms that cause circumference to their thoughts, seemingly absorbed from the very same view we view around them. An environment, of mind. Yet none of us are exempt. Have you reached your focal-moment, your agendized agenda today?

March 2d 2015
Adetokunbo Oluwafemi Ige
American Social Reserve Progressive Writer,
NemesisIntellectualism.