Court Painter approached his favourite hack writer Chatterley Groan Peripatetic Thunderdome (Chat GPT) to rewrite a series of randomly selected headlines published on January 5/6/24 : in rhyming couplets.
Press Attache to Court Painter , A Hardon MacKay was given the task of selecting random images from the CP archives to add punch, colour and text breaks for decorative purposes .
Plans for a 2024 Future, Court Painter Will Paint By Drone
Court Painter seen with type of drone he hopes to repurpose for his artistic ends.
Editor’s WARNING: This is a long one folks…skipping the text and simply admiring the images is encouraged. The images have been plucked from the archives as eye candy because one can’t expect time consuming long winded texts to be accompanied by new images, nowcan one?
Get ready for an exhilarating glimpse into the future of artistry in 2024, where Court Painter is set to redefine the avant-garde with a groundbreaking venture: painting by drone! In an unexpected twist in the age of robotic takeover, Court Painter, is orchestrating a spectacular move of brush/pigment based art to new heights that will elevate airborne portraiture beyond it’s traditional earth bound easel execution.
The brainchild of AHM and his main squeeze Missy Mayhem, self-proclaimed design and innovation gurus, “Court Painter Drones On” promises to revolutionize the art world as it has done with warfare. Forget about your run-of-the-mill drone-assisted graffiti; this project is the epitome of sophistication, taking drone art to unexplored realms.
At the heart of this visionary project is a cutting-edge “central-management system” that synchronizes fleets of quadcopters to paint with precision. Picture four unmanned aerial vehicles, each contributing a unique color in the CMYK scheme, working in unison to create breathtaking portraits. According to AHM, the number of drones can be multiplied to eight, 12, or more for larger-than-life portrait masterpieces executed in the Court Painter’s soon to be expanded hanger scale studio.
Court Painter, ever the pioneer, chimes in to further shed light on the technological marvel: “The central-management system is the game-changer, controlling drones in real-time with advanced monitoring for precise positioning during both flight and painting. This ensures we capture even the most intricate details, like the nuances of hands, hair ,hips ,highlights and toothy botox smiles, which are notoriously tricky to get just right.”
It is reported AHM’s interest in drone experimentation was sparked by an opium-fueled dream on Robbie Burns Day, leading him to envision a future where pigment loaded drones saturate the skies. With an estimated 1.3 million quadcopters predicted to fly over Calgary by 2024, a business opportunity was seized upon to breathe new life into Court Painter’s commissioning prospects in a struggling,competitive marketplace.
As AHM put it so succinctly, “The idea of employing drones in extending the monetization possibilities of Court Painter’s oeuvre is a solution born from my opium-assisted nocturnal phantasmagorias and not from auditing Preston Manning invisible hand seminars as the competition suggests.
While the subjects of the Court Painter Droning On initiative, the drone-painted masterpieces remain a mystery, however one thing is certain—they will feature politicians of all stripes and a few, that rumour has it, will be wearing fashionable broad penal stripes. The debut will showcase the quadcopters in Court Painter’s expansive hanger scale studio, applying their artistic flair on the finest linen canvas backdrops, but Court Painter dreams bigger, imagining future endeavours against the dramatic backdrop and substrate of the Blue Canadian Rockies or picturesque Peggy’s Cove on the seabound coast.
With the plug-and-play technology that can be deployed effortlessly on any vertical surface, the possibilities become truly mind-boggling. Just picture Court Painter’s portraits of politicians, oligarchs and up and comers also adorning highways, bridges, viaducts, unexplored caves, tailing ponds, and even the melting ice cap—an artistic cash cow unfolding before our eyes!
Court Painter left us with a statement in his characteristic drone tone: “We tirelessly and ceaselessly endeavour to consistently and unfailingly position ourselves as the very tip, the utmost tip, and the absolute epitome of the sword’s edge, diligently bringing forth our A game, our paramount A game, and our unparalleled A game to consistently and repeatedly achieve and attain the pinnacle, the zenith, and the very apex of the curve in the perpetually competitive and ongoing art world sales scrimmages and pugilistic art bar engagements.”
Canada’s heated political conflict over carbon pricing will continue into 2024
Canada’s price on pollution is supposed to help battle global warming, but as it nears its fifth anniversary, nothing in Canadian politics is hotter.
Conservative Leader Pierre Poilievre has so successfully convinced Canadians the carbon price is to blame for inflation that he even earned begrudging respect for his “axe the tax” campaign from Prime Minister Justin Trudeau.
Of course, Trudeau doesn’t agree with Poilievre’s sentiment and is counterpunching with TAX THE AXE…surely a game changer!
Between 2010 and 2020, conflicts around the world almost doubled from 30 to 56, and with them, the industry of war has blossomed. War machines, military exercises, and defence infrastructures demand enormous quantities of natural resources and contribute significantly to climate breakdown.
This is more than all 52 countries in the African continent combined, and almost three times as much as the civil aviation industry. And this figure does not include emissions generated from the conflict itself.
There is also a strong correlation between a country’s military spending and the amount of emissions it produces, with wealthier nations who bear the burden of responsibility for the climate crisis spending 30 times more on financing their military than on tackling climate change.
Despite ample evidence showing that militarisation accelerates climate breakdown, global military spending reached an all-time high of $2.24 trillion in 2022, with the 31 NATO states alone accounting for over half of this value.
And with war in Gaza, Ukraine, Yemen, Sudan and Myanmar and many more, this is set to continue rising.
Source: Excerpted from New Arab article December 11/23
In a mercantile twist, Court Painter has once more enlisted the services of his favoured lackey wordsmith, the ominous Chatterley Grandiose Pipsqueak Thunderbuns (ChatGPT), to unveil the eerie truths shrouding Court Painter’s artistic engagements with shady subjects and the malevolent struggles on the canvas lurking within the studio’s walls. The images suggest what living in the shade can do to an otherwise innocent mind that was once known for being light and breezy.
In the shady, artsy world, Court Painter’s like this big, mysterious star, shining in the dimness, doing some kind of aesthetic exploration dance. His brush moves around, creating fiction vibes that are like therapy, you know? Metaphor and metonymy mix together on his canvas, spilling all the secrets.
He’s the master who combines psychoanalysis mystery with social criticism toughness. He’s all about the fantastical, painting a picture where dreams are having a party in a conscious masquerade. Fantasy, according to Court Painter, is the key that connects the deep, unknown mind with the high-flying consciousness. Art and reality are doing a tango, keeping secret archetypes in the canvas’s silence, whispering rebellious freedoms.
Screenshot
But, surprise surprise, this utopian show is buddies with the harsh reality principle, a serious cop tied to the grind of life. Court Painter, being the mind detective, sees a nugget of truth in the gap between what could be and what actually is—a shadowy place where unfair social stuff casts a long, dark shadow.
His Inglewood groove shifts to the Frankfurt School streets, a gang echoing his vibes, making a way through “fancy art” and “sellout art.” Forget the usual split between “fancy” and “normal” or “not fancy” art; here, the lines get blurry in the smoky air. It’s a story of two worlds, with “fancy art” strolling in alleys without rules, while “sellout art” prowls the flashy streets, chasing cash with a mass-produced swagger.
It’s a wild Court Painter story, waiting to be untangled, especially when he turns his painterly eyes to the smoke and mirrors of art lies. Aesthetics manipulation is a tricky game played in the shady business backrooms, where beauty turns into money, and the canvas is a stage for a high-stakes show.
In this cityscape of mystery, the Frankfurt School’s point of view stands tall against Court Painter’s Inglewood cultural capital. It’s not just about taste or being popular—it’s about the political economy, the machinery behind the scenes. “Fancy art” comes from the shadows, where limits are just whispers in the night. “Sellout art,” on the flip side, thrives under the neon lights, a creation for profit, shaped by the assembly line for the masses.
In this story of shadows and big reveals, cooked up because Court Painter wanted to mess with people’s heads: the split between “fancy art” and “sellout art” isn’t just a canvas of cultural details; it’s a rough tale of power, politics, and the tricky dance between brushstrokes and cash flow. Welcome to the Court Painter art world, where mysteries show up with every brushstroke, and the truth hides in the shady light, kinda like a Raymond Chandler detective story.
Swing voter behaviour could inflate CPC’s percentage of popular vote to 54%, or shrink it to 27%
New public opinion data from the non-profit Angus Reid Institute finds ample reason for optimism at CPC headquarters, it also highlights potential pitfalls.
In play are so-called “soft voters” who are either indicating they’ll vote CPC but aren’t fully locked into their vote, or those who say they’re planning to vote for either the NDP or Liberals – but could still consider the Conservatives.
The CPC vote universe has the potential to grow to 54 per cent of the Canadian vote base. Were things to go terribly for the party however, the size of the CPC’s ballot haul could shrink to 27 per cent.
Court Painter with recent portrait of His WorSTship
December 15/23 WASHINGTON (AP) — A jury awarded $148 million in damages on Friday to two former Georgia election workers who sued Rudy Giuliani for defamation over lies he spread about them in 2020 that upended their lives with racist threats and harassment.
The damages verdict follows emotional testimony from Wandrea “Shaye” Moss and her mother, Ruby Freeman, who tearfully described becoming the target of a false conspiracy theory pushed by Giuliani and other Republicans as they tried to keep then−President Donald Trump in power after he lost the 2020 election.
There was an audible gasp in the courtroom when the jury foreperson read aloud the $75 million award in punitive damages for the women. Moss and Freeman were each awarded another roughly $36 million in other damages.
Court Painter once again calls upon his contract hack scribe ,Chatterley Gorgonzola Pernicious Thunderclap (ChatGPT) to rewrite in the style of post modern rhymes, a selection of December 6/23 headlines that appeared in National Newswatch.
(Factoid: It should be noted that ,Chatterley Gorgonzola Pernicious Thunderclap is a ceraunophile and as such is a person who loves lightning and thunder.)
For your visual pleasure a selection of images of Court Painter at work are provided since he couldn’t come up with paintings that match the aesthetic challenge of post modern rhyme or postmodern rhymes for that matter!.
In the political maze, Poilievre plays,
Tactician’s dance, MPs’ dreams in a haze.
Gould warns of consequences, a cosmic alarm,
Canadians caught in a House-tactic charm.
Fergus, a ghost in the Speaker’s chair,
History’s canvas, a fleeting affair.
Ottawa unveils cap-and-trade, a paradox to explore,
Emissions reduced, an oil and gas folklore.
Inflation looms, a spectral force,
Interest rates bow, altering the course.
The woods are dark, doubts linger still,
A post-modern tale, uncertainty’s thrill.
Cyber spies whisper, AI’s secret code,
Influence campaigns in the federal abode.
Pierre’s housing video, a surrealist twist,
Seizing debate, a narrative tryst.
Trudeau seeks Trump, an unlikely alliance,
Political labyrinth, a surreal reliance.
Diversity’s strength, silenced news cries,
A post-modern question, truth in disguise.
Poilievre’s video, a noir’s delight,
Dime-store analysis, housing in the night.
François Legault, a descent in the mist,
The end or the beginning, a post-modern twist.
Alberta, a fossil on the global stage,
Climate summit theatrics, a post-modern rage.
Kissinger’s warning, a time-traveling tune,
Serious leadership lost in the post-modern monsoon.
Court Painter called upon his favourite contract writer, Chatterley Gonad Phantasmagoric Thunderbuns (ChatGPT for short)to retell the fable of The Fox Guarding the Henhouse.
Once upon a time, in a lush and vibrant forest, there existed a community of animals concerned about the future of their earthly environment. At the heart of the earth was the Henhouse, a meeting place where the delicate hens and their precious eggs met to discuss the earth and its future survival. The Henhouse was entrusted to a clever and charismatic fox named Sultan Al “Jabba” Jaber, who was not only the president of Cop28 but also the chief executive of the United Arab Emirates’ state oil company, Adnoc.
Now, Sultan Al Jabba Jaber was known for his silver tongue and cunning ways. He was a master at convincing the other animals that he had their best interests at heart. However, there was a growing concern among the wise owls and perceptive rabbits of the forest. They questioned whether a fox, known for its sly nature, could truly be trusted to guard the Henhouse from deceit and private interests.
One day, during a grand gathering of the forest’s inhabitants, Mary Robinson, the wise and respected chair of the Elders group, dared to question Sultan Al Jabba Jaber about the need to protect the earth from the looming threat of global heating.
With a sly grin, Sultan Al Jabba Jaber dismissed her concerns, declaring, “I accepted to come to this meeting to have a sober and mature conversation. I’m not in any way signing up to any discussion that is alarmist. There is no science out there, or no scenario out there, that says that the phase-out of fossil fuel is what’s going to achieve 1.5C. Such measures would only take us back to the caves, hindering further development of my fossil fuel holdings.”
The animals listened, bewildered and uneasy, for they had heard tales of the delicate balance between nature and progress. The wise owls hooted in disbelief, and the perceptive rabbits exchanged worried glances. It seemed that Sultan Al Jabba Jaber, the fox entrusted with guarding the Henhouse, was not willing to acknowledge the urgency of protecting the earth and forests from the flames of global heating.
The animals, now more alarmed than ever, began to murmur among themselves. The Henhouse, a symbol of hope, seemed to be in peril under the questionable guardianship of Sultan Al Jabba Jaber. The wise owls and perceptive rabbits realized that entrusting a fox with conflicting interests to safeguard the Henhouse was a perilous decision.
And so, the forest found itself at a crossroads, torn between the deceptive promises of the cunning fox and the urgent calls for responsible guardianship from the wise and knowledgeable.
The fate of the Henhouse and the entire forests of the earth hung in the balance, as the animals grappled with the consequences of foolishly allowing the deceptive fox to guard his interests thus preventing Cop28 from delivering a decision to phase out fossil fuels in a just and equitable manner, absent loopholes and escape routes for the foxy fossil fuel industry to continue expanding and exacerbating the climate crisis.
