Regina Saphier: Advising Cancer Patients (the European Perspective of a Patient Advocate and Adviser)

Regina Saphier: Advising Cancer Patients (the European Perspective of a Patient Advocate and Adviser)

Yes, I know, when you look at my LinkedIn profile, there are so many things on it, and yet you would not think that this is also something that I do. But I do it. I have done it for over a decade, and not because it is fun to read about cancer, but because I like to help people stay alive and I am able to ask good questions and am OK with reading complicated research papers (sometimes the summary, the intro or the conclusion are perfectly enough, but other times I have to read for hours to really understand a method and/or procedures). I like to explain things as well, and I prefer to write because a written explanation is always there for people to consult. Disclaimer: I am not a medical doctor, I am not a clinical researcher, I am not a diagnostician, and I can’t cure you of any illness. I am just a human being who does not see a key service that people need… so, I do it for them… a guide who helps desperate people understand what their doctors are saying and find out what doctors are not saying. I help people fight for their lives more efficiently when I am able to.


Infantilization of patients in the era of readily available high level online knowledge

The really good ones were all female!

First, let me talk about the good doctors I encountered. Fortunately, I encountered a few bright, open minded, emotionally intelligent, introspective and cooperative doctors. I even had a female doctor congratulate me when I told her how I diagnosed an illness that was unusual and it was later confirmed by lab results (I had to behave like a detective, pick people’s brains, read online, and I had to push for tests… it was’t easy). I also had a doctor in Europe who asked me for full articles that I downloaded from Harvard University’s server. I had a particularly brilliant doctor at Columbia University. She was fun, smart, and was always willing to explain everything to me. I had a doctor (also in Europe) who was even happy to explain the technology she used. She told me that I was the first patient ever who asked her to do that. All of them were female doctors! The really good ones were all female. (It is interesting, because I have no female friends. All of my friends are male and highly intelligent. So, it is surprising that when it comes to doctors, I prefer women. Note: I once read that female doctors are simply better. It is probably because of better social skills and listening skills. I am not saying that male doctors can not be good. All I am saying is that I have never seen them. Sitting in your office and administering medication and ordering lab tests is not what I consider the job of a good doctor. It is so much more complicated.)

There were doctors who were professionally famous but as human beings those were often the worst (I would naturally be kinder to a horse or a dog than those people were to me… those were mostly male doctors). In the age of medical AI it is your humanity that will be important, not your medical data driven memory… even your medical experience driven diagnostic skills will be less of a priority after a while. If you want to remain a doctor and become a really wonderful one, develop your emotional and social skills, focus on your communication skills, be comfortable with technology (like AI), plus learn to embrace and utilize the fact that more and more people are acquiring knowledge online. If you dislike their sources, direct them to the right sources. Be their guide in the medical jungle that you know better. Listen to their personal patient narrative, that they know better.

I posted this in 2016 as a status update on facebook:

Here is what I think:
This is the age of The Idiocracy in the age of unlimited and available knowledge…
And the age of The Out of Touch Intellectual and Political Elite in the age of unlimited connectivity…

My opinion hasn’t changed a bit!

How it “works” now

Most people just accept what their doctors are telling them. I am not that kind of person and most doctors hate that. I am looking forward to the day when I am going to have my own medical AI to prevent, treat or even cure illness (without having to see a human doctor). Unfortunately, most doctors today adopt a mindset that is based on viewing patients as “the other” (this is an international phenomenon and it is not new… in fact this horrible attitude is hundreds of years old). So, to me the expression: “patient” describes a submissive, child like “know nothing”. This to me is military grade bullshit. An archaic hierarchy based mindset created the idea of the “patient”. The doctor is “the know it all” character of this type of medical story. So wrong! And it is not even true! Most medical doctors are not scientists and are often terribly misinformed, yet super arrogant!

I would like to live in an era when all people are well educated and highly able to interact with medical technology. I just witnessed how a cancer patient had to wait months to get properly diagnosed and she is still not getting her treatment. Why? Because her oncologist is not willing to cooperate (not open to questions) and now even went on holiday, and because the patient behaves like a child… let me be more specific: she is forced to behave like a child by her passive-aggressive medical practitioner (plus, she is hardly able to understand the most basic explanations, because she was never educated in this area… and she did not educate herself in this area… so, a lot of time goes by without actual diagnostic and treatment related progress).

How it should work (in my opinion)

If the process would be automated I could have helped her faster without human doctors. Press two if you already had cancer… Here is how it should work in my not so humble opinion:

Press three if you are inoperable… Press this or that if you are not willing to receive chemo… Please, proceed to this and this specialist for a surgery free biopsy… Please, watch this video to understand the risks associated with biopsies… Please, go to this menu if you would like to speak to someone regarding your personal risk based on your medical history… Please, make an appointment in this menu for an MRI and a PET/CT. Please, request a lab test, including genetic testing. And a few days later: This is the type of cancer you have. These are the types of treatment combinations you can receive in your country, within the EU, in the US, in Asia, or anywhere in the world. These are the commercially available options. These are the clinical studies you could be eligible for. Here is where you can start registering for treatments. Here you can read full medical articles on PubMed. Here you can find patient readable summaries of the articles on the medical wikipedia. This is how much the different treatments cost. This is the most cost effective treatment for you. Here is your big data and AI based outcome analysis for all the treatment combinations. This is where you can receive financial support. This is the surface where you can raise funds online for your treatment. Thank you for selecting this noninvasive surgery in Italy and this cancer vaccine in Germany. Please, watch this video regarding the risks involved and here is the explanation how this is a safer method compared to another. Here are the clinic’s safety statistics locally, regionally and globally. Please, select the doctor you would like to see at our clinic. Here is your doctor’s performance rating. Here you can order your EU insurance card. Here you can contact your doctor via skype. Here you can book a medical flight and a medical stay in a nearby hotel or in our own hospital based hotel room. Here you can interact with patients like you.

Yes, I want this all to be online, and globally integrated. I want this to be a smooth service, like any other good service. I want as much stress be removed from the process as possible.

More about how it works now:

Doctors often behave like badly trained policemen. It is a bit like racism! I am telling you, it sometimes feels like I am talking to a white supremacists male police man while being a black female driver on a deserted country road, or something like that. I am white, but I can imagine the generalized anxiety and trauma such people cause innocent and vulnerable citizens. This best describes the atmosphere many doctors create while “serving” you. It often feels painful when I am interacting with a doctor. It is physically painful and it gets my sympathetic nervous system going… and that is directly damaging to a patient’s health, medical outcome and trust. So, doctors with this mindset should know that their behavior directly generates distance, stress, pain and a hostile environment that often results in more illness, instead of a cure in the first place. Many years ago I read the confessions of a doctor who only realized how she was hurting her own patients when she herself ended up being a patient. She could not believe the dehumanizing, insensitive, disrespectful and ignorant behaviors of her colleagues while she was a patient.

How can there be any trust when your doctor is not respecting you, does not see you, does not appreciate you as a complex and evolved human being or is even afraid of you because you are well read and are asking valid questions? Of course trust cannot be built this way! These people treat me as if I am reading homeopathy related articles (I think homeopathy is bullshit), when really, I am reading PubMed and similar advanced medical sites, that are there for medical doctors, smart nurses, diligent patient advisers and intelligent patients to educate themselves. And yet, I am treated like an idiot, with all the prejudice a human doctor can accumulate about a patient with higher education, fluent English, international experience, and the ability to understand the scientific literature that doctors are also supposed to read (but often don’t even have access to those databases or don’t have the language skills to understand the articles… it is everyday reality in Hungary for example, that doctors have no access to the latest medical literature and/or can’t read in English… many hospitals don’t have enough nurses, doctors, medications, appropriate technology and no toilet paper and no soap… even the furniture is falling apart… the rooms were not painted for decades… imagine that… and Hungary is part of the EU…).

Yes, indeed, I feel the abyss between the everyday realities of our dystopian present and my perfectly implementable utopian future.


Excuse My French!

So, in my experience, doctors switch to cognitive empathy instead of affective empathy and some even enter the realm of transient psychopathy coupled with professional denial. This behavior is next rationalized (by medical professionals as a group) as normal behavior, and vulnerable patients are often (excuse my French) fucked by this atmosphere, because even the nurses help maintain this by saying things like: “Yes, we know that he is insensitive and has no people skills, but this is why we are here… to compensate for his lack of sensitivity and empathy…” and she goes on being insensitive herself… In this insensitivity bubble (surrounded by desensitized medical professionals) patients suffer in silence. (Patients sometimes even display symptoms of a sort of “medical Stockholm syndrome”… identifying with those people who basically torture them in a horrible medical system, saying things like: “I know how difficult it is to work in such an underpaid, stressful environment”… when really, all you see, is that a particular doctor was never trained to be polite, kind, able to listen and empathize…) All the traumas patients accumulate during years of medical (mis)treatments can and will result in PTSD (post traumatic stress disorder). Generalized anxiety and stress related disorders undermine a patient’s chances of survival. When (due to past experiences) someone’s cortisol level jumps high just by thinking about having to go to a hospital, that will decrease that person’s life expectancy. And if you look for the most lethal conditions in humans, cortisol imbalance and chronically high cortisol levels are one of the most lethal conditions.

I am describing the atmosphere that leads to mistreatment, cruelty and humiliation. I used to trust doctors when I was younger and naive. But when I got seriously ill in my thirties and I encountered the above attitudes and doctors’ inability to help me and unwillingness to cooperate with me (there was even this obvious disapproval… and get this: even scolding for my informed questions), I discovered that most doctors simply cannot be trusted and often, you are on your own when you are ill. Literally, on your own, because your family (most likely) has no idea how to read scientific literature and don’t have your curiosity, stubbornness and grit to learn about medicine (if you have those features, you might not be 100% lucky in your ignorant human network… smart kids are bullied in schools and smart patients are bullied by doctors).

Patients also like to treat doctors as the “other”. “The doctor knows.” “The patient does not know.” This is a nineteenth century or even older attitude and “agreement”. Totally outdated! This is why I started to read the medical literature that doctors are supposed to be reading, as well as many patient blogs that knowledgeable patients write about their experiences. Unfortunately, I have not yet found the enlightened doctors to work with in my own personal environment. At the same time I reject unenlightened doctors. I have seen how “health care” and “healing” resulted in completely ruined bodies and souls. When a patient looks and feels like he or she was tortured by someone at the end of a treatment, plus his or her family was ruined by the experience… is that medicine or barbarism? This situation of rightfully rejecting medical barbarism could even kill a patient, no matter how informed he or she is, because such patients are disgusted by doctors who dehumanize and disrespect them. I am not a patient! Rather “impatient”! If I have to respect you as a doctor for your knowledge and time, should you not respect me, my knowledge, my time and my life? Look at me! I am a human being just like you!

What is special about my position as a patient adviser and advocate is this: Most oncologists are specialists. They are following a protocol and only read about their specialty locally (if they read at all…). But when you are a volunteer patient advocate and adviser (plus sometimes a patient yourself) with a global mindset, you read about many different illnesses and all sorts of treatments, even experimental ones, and even about treatments that are not yet mainstream and cost an exorbitant amount of money. “Multipotentialites” (everyday “polymaths”), like me, we read about everything under the Sun. Most doctors hate that and we will be bullied by doctors. This is absolutely wrong!


A bit about volunteer patient advocates and advisers

Patient advisers and advocates are often volunteer “medical sherpas”. They don’t really want to go where you go, they don’t have your problem, but out of love and with lots of empathy they pick up parts of your problem and carry parts of the burden for you, so you don’t have to. Such people will explore new paths of hope for you while you are asleep. Will explain medical procedures when you don’t understand, and remind you of the right questions you should ask your doctors. We do the heavy intellectual lifting to lighten the load of the struggle for patients and for doctors as well. We listen, do research, we network and search for answers, and explain. We translate the jargon. If you like, we repeat things ten times until you understand. We encourage you to be assertive. We tell you to expect more. We also tell you about the limitations and we don’t pretend that life is endless. We hear you and acknowledge your limitations. We know that every patient has a different endgame as well. Some want to try every possible treatment, no matter where it is. Some don’t want to be treated abroad. Some want to have a few good last years. We want you to make an informed decision for yourself. We never force you to do anything. It is your life.


A new type of medical training

It would be interesting to train doctors in a new way… Have them train like debate teams. When learning to debate, people learn to argue in support and against something. The same way, doctors should be trained to argue their positions from both a medically trained doctor’s perspective and from a well read patient’s perspective, and even from a completely uneducated patient’s perspective. This would help even those doctors with impaired empathy to improve their communication skills and would gain insight into patients’ anxieties. Even if you are a surgeon with psychopathic traits and zero affective empathy, you can learn to believably pretend to empathize and so put your patient at ease. An anxious patient with high blood pressure in surgery is at risk. If you can get your patient to trust you and relax, the surgery will be safer.


Artificial Medical Intelligence and the future of self-guided health care

I am one of those who believe that AI will be our highly personalized health care provider. Those adults who are well educated will be most able to access superior medical services to prevent illnesses by using medical AI first (and the eight year old girl who grows up while interacting with AI fluently… You know the scenario when a kid is constantly scolded: “Why are you always playing with your AI…?” and then one day: “Oh, did you just save your grandmother’s life with your AI???” But, of course, I am not talking about basic Artificial Narrow Intelligence. I am talking about either medically specialized Narrow Intelligence or later Artificial General Intelligence used in medicine and much later Artificial Superintelligence… it will feel like god to many people…)


Prevention will be the primary goal. Medical AI will be the first line of support and most human medical appointments will be done online. Most surgeries will become noninvasive. In fact the day will come when people will not believe invasive surgery by humans was a thing. I even suspect that hospitals will one day be completely obsolete. So, one day, hopefully, my medical learning capacity, my openness to technology and my AI interactive skills will be helpful when trying to figure out a treatment for myself and others and I would not have to go to a doctor’s office at all. I could just consult with several pre-selected doctors globally. Send me the medicine in the mail or let me print it. There should be more medical education in high schools (and online) and all people should learn how to make sense of clinical research papers (until this part can be completely taken over by medical AIs). People should not be so dependent on doctors and their very limited skills, questionable humanity and finite time. Your health is too precious to search for the right doctors for years! You should not have to go bankrupt during a treatment. Your family members should not get sick of the stress your prolonged care causes. Adults shouldn’t have to behave like helpless little kids while being treated within a questionable healthcare system.


Advocacy and advising people in practice (a mini case study)

I advise people voluntarily for free (and I avoid confrontation with doctors left over from the nineteenth century… not even the twentieth!). I do not advertise this activity. I help people with information. I support their decisions by summarizing the discovered possibilities beyond the local medical protocol. For example when a family friend had cancer I decided to search for a clinical trial for him (he did not want to be treated abroad) and when I found the right one, I gave his wife a phone number to call and explained the process. He had metastatic lung cancer 10 years ago (with bone metastasis). Luckily, he was a genetic match for the study I suggested (after picking other people’s brains for days). He lived an additional 5-6 years because the new treatment worked for him (in Budapest!). Today, an additional 5 years of survival could mean a possible cure that is under investigation now… but perhaps becomes a fully available, genetically targeted cure in 4 years for example.


Combination therapies (based on genetic testing and imaging)

It is important to note that today, cancer treatment does not mean one standard for all. Treatments are combined for individual needs. You can have:

  • Herceptin if your breast cancer is Her2+ (Human epidermal growth factor receptor 2 positive breast cancer patients are a minority among breast cancer patients, but have a very good and specialized treatment option… however, live with an aggressive type of cancer that is likely to return, precisely due to the growth factor receptor, that is also the target of the special treatment),
  • Arimidex if your cancer is hormone sensitive,
  • Proton radiation therapy if the cancer is in an area that does not move during treatment (proton radiation can be better targeted and causes less damage),
  • MRI guided Ultrasound Surgery if you do not want a surgeon to cut you open, and a
  • Cancer vaccine to help your own immune system fight the cancer.

You can have all of these combined. Cancer is tricky. Today we are still in the “kill” paradigm, but one day the “return the cancer cell to a normal cell” paradigm will most likely rule.

This list is actually a fresh one I compiled for a patient with recurrent breast cancer that metastasized into her adrenals 5-6 years after her first diagnosis and treatment. Her prognosis was really bad, but she is still alive after 5 years! For her type of breast cancer it is extremely unusual to have adrenal metastasis and due to her general condition, she is inoperable. Now, even the biopsy was tricky. In the treating hospital (the leading one in the country) her doctors were unable to even imagine the biopsy without invasive surgery. She had to go to another hospital to see a specialist for ultrasound guided biopsy (no invasive surgery was needed for the adrenal biopsy!!!). Her oncologist only suggested chemo (I informed the patient, that chemo might spread her cancer without surgery… also, a biopsy could spread cancer cells), Herceptin (in my opinion, it should have been started within a month after her metastasis was diagnose, yet months later she is still not being treated) and Arimidex (also helpful). Her oncologist did not say anything about commercially available proton radiation therapy, MRI guided ultrasound surgery and personalized cancer vaccines in the European Union. I told her about these.

When necessary, I also look for top surgeons internationally (e.g.: for colon cancer), and possible treatments for adrenal cancer, like the personalized cancer vaccine (for the patient with adrenal cancer). When I do this research, I regularly pick other people’s brains internationally and read many articles to help patients and their families. But I never tell people what to opt for. I only research, list the options and explain them (and their possible combinations). The decision making is the patient’s personal task.

I think there should exist independent advisory teams for each patient in highly demanding situations. If you have never been ill, if you never had a relative who was ill, if you are a doctor who never experienced illness as a patient or family member, you have no idea from a patient’s perspective and from a relative’s perspective how terribly demanding it is to be ill, find your way in the maze of medical institutions, understand lab results, question your doctor’s opinions and suggestions, read, learn, be a caretaker, take care of yourself, work, be a mother, a father, and look for better treatment options (often internationally). People are fighting for their lives in a dehumanizing and confusing system! And you are lucky if you have the funds to finance the shocking expenses.

Advising cancer patients is a side project I do because I am able to. So, why not? Right? I wanted to write a summary blog about several of the possible treatments that people usually don’t get information about from their run-of-the-mill oncologists (below I am going to add a long section about treatments and medical technologies). Getting the best information really should not be a matter of chance in the age of the internet, AI, big data, citizen science and epic, interactive, multiplayer online games! There is so much information out there that could be useful to many people. I even have a concept of a medical science game for this purpose, for citizen scientists and even professional scientists. Saving a real human’s life in an online game would be much more epic than killing an avatar in an online game! In fact I am already working on this game idea!

OK, now that I managed to vent, I am going to talk a bit about the cancer treatments I encountered or revisited during the last couple of months (and this is just a short list, because I read at least a dozen articles regarding cancer treatments by the time I get up every day):


Personalized cancer vaccines (Example #1)

Cologne, Germany, European Union
Immunologisch Onkologisches Zentrum Köln (IOZK)

VOL-DC (Viral Oncolysate Loaded Dendritic Cells) or NDV/DC Immunotherapy (Newcastle Disease Virus/Dendritic Cell Immunothrapy)

You should have seen the different ways in which I attempted to explain the brilliance behind this safe treatment. I went from the scientific summary to the theater method: I portrayed the beautiful dendritic cells as ballerinas in tutus going swimming in the tumor specific antigen swimming pool in the lab (made possible by viruses), and later showing off the antigens like glitter to the T cells in the body. In turn the T cells are hopefully able to kill the cancer cells, because the cancer cells can no longer hide. I can see this in my head as an animation. I seriously tested every possible explanation level to get the message to the patient who is a female close to 70.

I heard about this method on the radio and did a few days of research. First, it sounded too good to be true. You just waltz into an office in Cologne, get tested and if your immune system is in good shape and if you have tens of thousands of euro in your bank account, you can get this extremely safe cancer treatment that might extend your life by years… and in a few cases even clinically cure some people. If you are lucky, this way, your own immune system will be able to kill the cancer. No toxic materials are used.

The patient, because she is inoperable, decided to go see if this would work for her. During the travel preparations she had an accident. She fell and hurt herself badly (in front of a building where she had to go in person to get her EU insurance card!!!). She still got the airplane tickets and was in Cologne within a few days with her husband. She wants to live!

I really don’t understand why this clinic does not send healthy, fit, medically trained employees to travel to such patients internationally. I mean, people in their late sixties should not have to travel up and down internationally to find the right treatment! Again, making everything convenient for the doctors, and stressful and dangerous for the patients. The patient should rest and his or her stress level should be kept minimal, yet it is the patient who has to go everywhere and wait hours and days for some attention (while risking accidents and infections). And in this case we are talking about a private European clinic in Germany!

Anyway, the results showed that she could benefit from the treatment. However, the clinic made a huge mistake! They promised to send the results in two weeks via e-mail. Instead, for some absolutely unclear reason, there was promise after promise for 5 weeks! Imagine how a patient (who is basically terminally ill without the appropriate treatments) feels while this is happening. The trust is gone! You run to Cologne, spent thousands of euro on airplane tickets, hotel nights, blood tests, and you are made to wait over twice the promised time period and that without any explanation and without any apology from your doctor! I mean, this was clear service error. This is unacceptable! The least those people should do is refund the money. Who would want to be treated by a clinic that behaves in such irresponsible and disrespectful manner? All I can say: Shame on IOZK! If you were the ones able to save this patient, if you wanted to save this patient, how could you treat her like this? Don’t you understand that you are in the business of trust, communication and saving human lives? It is very possible that this patient will live a shorter life because she can no longer trust you and can’t accept your treatment. She now thinks you are selling a hoax and I can’t blame her (even though I know that your method is medically valid). I personally think that the lab results were valid, useful and the treatment could work. But I can no longer expect this patient to trust IOZK. Obviously! And why do I have to write angry letters to a private clinic in Germany to get the lab results that cost the patient 3000 euro 5 weeks earlier? As if we have unlimited energy… (What are these people thinking?)

I could see from the results that the patient’s adrenal cancer was HER2+, so Herceptin will be an option again. But because she could not trust the results sent by IOZK, she had a biopsy that was/is not without risks. The biopsy reinforced the blood test based results. But with all the enormous effort by her, by her husband and by me, how is it possible that it took so long to get her these results? She was diagnosed during the spring and it is now August and she still did not get any treatment. What kind of medical system is this??? What are her doctors doing??? And now, because it is the summer, her oncologist just went on holiday! Yes, now that she knows what treatment she needs, she still has to wait! This is abnormal and unethical!!!


Personalized cancer vaccines (Example #2)

Suddenly, another personalized cancer vaccine turned up on my radar in Düsseldorf, Germany. I did not yet explore this one further, but I put it here for people who are interested:

Univ.-Prof. Dr. med. Hans Bojar
Düsseldorf, Germany
This is from the website:
“The NextGen Oncology Group concerns itself with the further development of precision oncology treatment. Since tumors are as individual as a fingerprint, cancer treatment can only be successful if it takes this individuality into account. Using highly innovative procedures, we determine a patient’s molecular fingerprint. Pan-genomic gene activity analysis, next-generation mutation analysis, and many other procedures are the technologies necessary to personalize treatment.

The standard cytotoxic chemotherapy has long since been overtaken by the intelligent, personalized targeted therapies that are now at the heart of scientific inquiry.

Modern, molecular-genetic technologies are the basis that allow identifying individual treatment targets. The recent development in cancer vaccines has also raised high expectations and hopes. By analyzing the entire human genome, a tumor’s individual mutations can be determined. This then allows creating absolutely personal vaccinations which are as individual as a fingerprint. These new therapeutic options will significantly change the treatment of tumor diseases in the years to come.”


Another type of immunotherapy: Chimeric Antigen Receptor (CAR) T-Cell Therapy

In this case new receptors are added to patients’ own harvested and later re-injected T cells. Very promising method, but can be more dangerous than the personalized cancer vaccines.
From the wiki article:
“Chimeric antigen receptors (CARs), (also known as Chimeric immunoreceptors, Chimeric T cell receptors, Artificial T cell receptors) are engineered receptors, which graft an arbitrary specificity onto an immune effector cell (T cell). Typically, these receptors are used to graft the specificity of a monoclonal antibody onto a T cell, with transfer of their coding sequence facilitated by retroviral vectors. The receptors are called chimeric because they are composed of parts from different sources.

CARs are under investigation as a therapy for cancer, using a technique called adoptive cell transfer. T cells are removed from a patient and modified so that they express receptors specific to the patient’s particular cancer. The T cells, which can then recognize and kill the cancer cells, are reintroduced into the patient. Modification of T-cells sourced from donors other than the patient are also under investigation.”


News regarding metastasis prevention:

This is also interesting and relevant:
Johns Hopkins researchers say they’ve unlocked key to cancer metastasis and how to slow it
From the article:
“When the tumor reaches a certain density, the study found, it releases two proteins called Interleukin 6 and Interleukin 8, signaling to cancer cells that things had grown too crowded and it was time to break off and head into other parts of the body.”

“The team then tested two drugs known to work on the Interleukin receptors to see if they would block or slow metastasis in mice. They found that using the two drugs together would block the signals from the Interleukin proteins that told the cancer cells to break off and spread, slowing — though not completely stopping — metastasis.

“The drugs the team used were Tocilizumab, a rheumatoid arthritis treatment, and Reparixin, which is being evaluated for cancer treatment.

The drugs bind to the Interleukin receptors and block their signals, slowing metastasis.

Though metastasis was not completely stopped, Jayatilaka said, the mice given the drug cocktail fared well and survived through the experiment. She said adding another, yet-to-be-determined drug or tweaking the dose might stop metastasis entirely.”


Do the most extensive genetic testing possible!

Keep this in mind when your outdated oncologist tells you that no extensive genetic testing is necessary:
Clinical impact of extensive molecular profiling in advanced cancer patients
From the article:
“Extensive molecular profiling using high-throughput techniques allows for the identification of actionable mutations in the majority of cases and is associated with substantial clinical benefit in up to one in four patients.”


Highly targeted cancer treatments are here for very specific mutations!

A New Cancer Drug Helped Almost Everyone Who Took It
From the article:
“… the DNA of his tumor was sequenced, and he was entered into a clinical trial for an experimental drug called larotrectinib. He felt better within a day. Within 72 hours, he no longer needed a cane. Within two weeks, he was walking around Manhattan on his monthly clinical trial visits, playing with his kids and eating like a champ.
Laurie’s experience isn’t unique. Results in the first 50 patients treated with larotrectinib are being presented today at the annual meeting of the American Society of Clinical Oncology, the biggest gathering of cancer doctors.”
“Loxo Oncology was founded in 2013, the brainchild of an oncologist named Joshua Bilenker, who was then working as an investor at Aisling Capital, a private equity firm. Between 2004 and 2006, Bilenker had served as a reviewer in the oncology division of the Food and Drug Administration, working on applications for new uses of cancer drugs like Rituxan and Herceptin.”


FDA Clears First Cancer Drug Based on Genetics of Disease, Not Tumor Location
From the article:
“Merck & Co’s immunotherapy Keytruda [pembrolizumab] chalked up another approval on Tuesday as the U.S. Food and Drug Administration said the cancer medicine can be used to treat children and adults who carry a specific genetic feature regardless of where the disease originated.
It is the first time the agency has approved a cancer treatment based solely on a genetic biomarker.”

“The accelerated approval was for solid tumor cancers not eligible for surgery or that have spread in patients identified as having a biomarker called microsatellite instability-high (MSI-H) or mismatch repair deficient (dMMR).
Tumors with those traits are most common in colorectal, endometrial and gastrointestinal cancers, but may also appear in cancers of the breast, prostate, bladder and thyroid gland.”


There are many promising new, targeted treatments

Immune checkpoint inhibitors to treat cancer
List from the site:
“PD-1 inhibitors: Examples of drugs that target PD-1 include:
Pembrolizumab (Keytruda)
Nivolumab (Opdivo)

PD-L1 inhibitors: Examples of drugs that target PD-L1 include:
Atezolizumab (Tecentriq)
Avelumab (Bavencio)
Durvalumab (Imfinzi)”


Journal for ImmunoTherapy of Cancer
Novel technologies and emerging biomarkers for personalized cancer immunotherapy
From the article:
“These therapies are revolutionizing therapeutic concepts and changing the standard of care for cancer treatment. Immunotherapy is now widely accepted as a key component of the therapeutic strategies to control and potentially cure cancer. Moreover, immunotherapy has the potential to cure or convert cancer from a fatal disease into a non-life threatening or chronic disease. The concept of a “clinical cure” is emerging as a description of long-term tumor control. The broad potential for a clinical cure is now being extensively explored by both mono and combination cancer immunotherapy.”


Modern, highly targeted radiation therapies

Heidelberg Ion-Beam Therapy Center (HIT)
Heidelberg University Hospital
From the site:
“Ion beam radiation, also referred to as particle radiation. Protons and heavy ions are positively charged atomic nuclei (particles). Protons are positively charged nuclei of hydrogen atoms. Heavy ions are positively charged nuclei of atoms with a greater mass (at HIT, carbon, oxygen and helium ions are used). Ion radiation guarantees the highest possible precision. In addition, heavy ions have greater clinical efficacy than conventional irradiation with the same dose of photons.”


From the site:
“With Proton Therapy higher dosages in the tumor are possible and at the same time there are significant less side effects.”

Let the video explain:


Radionuclide therapy

This method is effective in tumor cells with somatostatin receptors. Lutetium-labelled peptides are used to kill the cancer cells. If you like to know more, here is an article:

Lutetium-labelled peptides for therapy of neuroendocrine tumours
From the article:
“Treatment with radiolabelled somatostatin analogues is a promising … tool in the management of patients with inoperable or metastasized … tumours.”


Noninvasive ultrasound surgery


Magnetic resonance imaging (MRI) guided high-intensity focused ultrasound (HIFU) surgery could beautifully complement cancer immunotherapy. Did you know that MRI HIFU was invented and developed by a Hungarian doctor? He lived and worked in the US. Unfortunately, he passed away recently. And did you know that Hungarian hospitals refused to purchase an MRI HIFU machine a few years ago? It is a wonderful tool! It is available all over the world! It is in the early stages of development as laparoscopy was over 10 years ago… It is very promising! Of course Hungarian idiot decision makers did not want one!


So, I discovered the brilliant entity called:

Focused Ultrasound Foundation (in the US)
And their website has the most comprehensive search tool if you would like to search for a HIFU treatment in a country by organ treated! Currently the database has 588 treatment sites globally!!!

It lists several Italian institutions offering commercial HIFU treatments for kidney tumors (no word regarding adrenal tumors…).

  • Careggi General Hospital, Florence Italy
  • Cisanello Hospital of University of Pisa, Pisa, Italy
  • European Institute of Oncology, Milan, Italy
  • Rome American Hospital, Rome, Italy
  • Sora Cancer Centre, Sora, Lazio, Italy

Always consult specific websites and it is best to contact the institution directly via e-mail or phone!

HIFU Treatment
From the site
“IEO [Istituto Europeo di Oncologia] is the most advanced developing Center in using HIFU technology for cancer treatment in the West. HIFU is a cutting-edge, non-invasive technology, developed in China* for destroying cancer without scalpels, irradiation or needles. Interventional Radiology in IEO has the largest number of HIFU cancer treatments in western countries.”

*There are several different types of HIFU equipment globally.


Clinical trial and medical science resources:

From the site:
“ is a registry and results database of publicly and privately supported clinical studies of human participants conducted around the world.”

From the site:
“PubMed comprises more than 27 million citations for biomedical literature from MEDLINE, life science journals, and online books. Citations may include links to full-text content from PubMed Central and publisher web sites.”


The leading European professional organisation for medical oncology


Apps, Labs, Data, Image Analysis, In Silico Testing and Artificial Intelligence

Now about a research tool and service that could support treatment related decision making

The Oncompass app

On this site, patients and doctors can look up clinical trials ranked by relevance for specific cancers and doctors can also add their own experiences with treatments immediately! It is free! This is a Hungarian app of a molecular diagnostics company (Oncompass), but its users are global! I just discovered it recently (I tested it a bit, but I did not use it for treatment search). Could make the search for a treatment or even a cure so much easier! Plus, it empowers e-patients and helps doctors expedite info sharing regarding treatments globally!

Note: Today it is not (yet) the state delegated oncologist in Budapest, Hungary (where healthcare is not up to EU standards) who tells a patient that there is for example LOXO 101 in an open clinical trial (e.g.: in Denmark) and that Loxo Oncology takes patients for free (!) to international locations, for free (clinical trial related) treatment with one of the safest and most successful cancer drugs in development (it targets a select group with a rare genetic mutation… and for those with the mutation it is apparently amazingly effective and sometimes even curative even in very advanced cases). It only helps a very small group of people globally with a very specific mutation, but those people see amazing results and Loxo Oncology is looking for them! This isn’t something that a regular oncologist shares with you and you do not even know how many facts are not being shared with you that could potentially save or prolong your life! It is the multidisciplinary long-form blogger and digital artist (me, Regina Saphier) who will dig this up online (and not with the free Oncompass system that I just discovered recently… perhaps one day I am going to use that one too, but it is very difficult to register a patient in it without the cooperation of the oncologist, the patient and other doctors).

I immediately noticed that the Precision Medicine Calculator (by Oncompass) has no registration and login option for friends, family, patient advocates/advisers and other caretakers. Yet, in many cases, in such stressful situations, it is this support network that helps patients find answers. And I can’t believe how many internet domains Oncompass has… at least 4… it is really confusing. But I appreciate the idea of this free and global app. It “just” has to work well now, and for that people need to know about it and people have to use it (and it regularly needs to be improved).

Oncompass Medicine is one of the companies in Hungary that does oncogenetic testing (another superior genetic sequencing service is provided by PentaCore Lab). At Oncompass 58* 600 genes are tested when searching for a cancer treatment, and there are specialized support options beyond the lab work and that is very important. (*Update on October 19. 2017: Oncompass recently started to analyse 600 genes and the full exome of patients!!! Ask for the Oncompass All Dynamic Program!!!). At PentaCore Lab, 400 oncogenes are sequenced (Vivaton 400). Duna Medical only tests 65+27 genes. In the US there are tests with hundreds of genes (similar to the Oncompass All Dynamic Program and the PentaCore’s Vivaton 400 panel in Budapest). When personalized cancer vaccines are developed for a patient, the best thing is to have the entire genome sequenced (by entire I mean even the healthy genome). That helps you find the best treatment targets.

There is so much information all over the place, that both patient networks and doctors need a reliable decision support system. If I could make decisions about this, I would even make medical AI based Enlitic available to patients and their networks as well. There are patients and supportive people in those networks who could enhance care by using Enlitic.


You might have noticed that I mentioned several Hungarians in this blog post. So, why stop now? There is a brilliant AI based drug discovery start up in Hungary called:
“Increase your laboratory success rate and reduce
time to trial with AI guided simulated experiments.
Turbine identifies complex biomarkers and designs effective
combinations by simulating millions of experiments each day.”

When I noticed Turbine, I did not have to think at all to know that this is brilliant! I wish this young company was advanced enough to permit patient side access to the system. Just imagine getting in silico hints about possible drug combinations that could help someone. Sometimes even drugs that are not cancer related can have a positive impact. Turbine, Oncompass and PentaCore Lab should create a partnership…


By the way, not only do patients need help finding the best molecular treatments, but people still need to find the best possible surgeons as well (etc.). I had to do such a surgeon search over ten years ago and the world’s best surgeon for the Hungarian patient was in the UK. That is still not an obvious thing that people can easily find online (You need statistics, like: How many such operations does that surgeon perform per year? How about his or her error rate? The top surgeon had a zero % error rate for a digestive system cancer and he used his own method that he was teaching during some of his operations… Go for that level of expertise, if you can! That is the safest.).

On top of that we also need insurance companies to realize that care is now global and this market has to be serviced globally, with locally acceptable fees.


Note: Oncompass Medicine also has a fee based, international cancer treatment research and cancer patient support service! It is the same kind of global cancer treatment research and cancer patient support that I am doing, but I do it for free. While I do this occasionally, Oncompass does this all the time and has excellent resources and a global network. If you can, it is probably a good idea to hire them. I don’t know how good they are. Let me know if you have any experience with them!


I am a big believer in self guided online learning. And so I coined the term: “self guided online health care”. Imagine having a personal robot that is connected to a medical AI. The patient could simply ask questions of the robot, it would connect to the AI and based on the lab results (a patient has at home or online), the AI could suggest different treatment options by scanning and comprehending the globally available medical research and treatment data. (I personally would prefer a more advanced, multitasking robot companion, or no robot, just the AI via my computer, tablet or smartphone.)

The Robot Will See You Now — AI and Health Care

What happens when diagnosis is automated?


My Game “Theory”

As I mentioned before, a global multiplayer online game could be developed for citizen scientists and medical students (even for doctors). By combining the available resources, a new level of information sharing could be achieved in a uniquely motivated network.

In both cases the data entry is one of the most problematic areas. Lab results should be both human and machine readable. People who e.g. play EyeWire or Foldit could be on-boarded in a new game that is about hunting treasures like life saving medical treatments around the world and building alternative treatment plans for patients. It is doable! And I am working on it! Let me know if you would like to fund it!


Precision medicine is simply not possible without participatory medicine. Demand better care! I know that it is easy to expect and really hard to do. But every little positive change adds to the chance of an actual paradigm change! I hope you find the right doctors and the most appropriate treatments for you, your loved ones and your community members.

You can connect with me via Facebook and LinkedIn. I am happy to help. No matter where you are from, no matter who you are: If you need help and if I can help, I will help! Pay it forward to others in need when you can. My time, energy and resources are limited, so please, respect that when you ask a question (note: I understand if you feel the need to explain the context). Thank you for reading my blog post! I hope I could help with at least a little something. Find many more blog posts on my three different blog surfaces in a multitude of subject areas! Live long and prosper! 🙂



Saphier Regina: A Sárkány Völgyének Felfedezése



Saphier Regina: Falu a Sárkány Völgyében - szabadkézi festmény digitális médiumon - 2016. április 12.

Saphier Regina: Falu a Sárkány Völgyében – szabadkézi festmény digitális médiumon – 2016. Április 12.


Saphier Regina: A Sárkány Völgyének Felfedezése

Patkó Károly San Vito című képe (melynek reprodukciója alább látható) véleményem szerint nem San Vito-ban készült (vagyis nem San Vito-t ábrázolja), és ez lenne a kérdésem: Soha senki sem vette észre? Vagy ha valaha valaki rájött, miért nem publikálta ezt az információt online, könnyen elérhető formában? (Ha valaki már megtette volna, akkor egy gyors google kereséssel megtalálhattam volna, és nem kellett volna önálló kutatásba kezdenem, hogy láthassam a tényleges eredeti helyszínt.) Idealista módon úgy hiszem, hogy ha bárki ismerte volna a valódi helyszínt, a konkrét falut, akkor már korrigálták volna a festmény címét (lett volna néhány évtizede a művészettörténész szakmának, hogy ezt megtegye). Ebben az esszében többek között arról írok, hogy mi inspirál, amikor festek, és elmesélem, hogyan találtam meg (már megint) egy magyar festmény keletkezésének helyszínét (legalábbis hogy hol készültek az első vázlatok).


Felfedezés és inspiráció

Azt gondolhatod, úgy állok neki festeni, hogy előkapom a tabletet és a hozzá való tollat, beindítom az ArtRage nevű (digitális olajfestmények megalkotására is alkalmas) szoftvert, és egyfajta azonnali módosult tudatállapotban (flow-ban) festeni kezdek. De nem ez történik. Rengeteget kutatok, mielőtt skiccelni és festeni kezdek. Például festményeket, színeket, stílusokat, művészeti korszakokat és mozgalmakat, művészek életrajzait, városokat, falvakat, speciális helyszíneket, térélményeket áramoltatok át az agyamon és ezekből az impulzusokból áll össze az inspirációm. Akkor a legjobb festeni, amikor már alig bírom kivárni, hogy nekiállhassak alkotni, mert annyira tisztán látom, hogy mit szeretnék létrehozni.

Egy ilyen kutatási folyamat során fedeztem fel Berény Róbert egyik festményének alkotási helyszínét. Rögtön meg is festettem a saját verziómat egy másik szemszögből, és az egész történetet blogba foglaltam. Más hasonló felfedezéseket is tettem már. Például pusztán vizuális alapon felfedeztem, hogy Csontváry hol festette két festményét (“Holdtölte Taorminában” és “Mandulavirágzás Taorminában“), annak ellenére, hogy ez a helyszín nincs a híres Görög színházrom (melyet Csontváry szintén megörökített) közvetlenül látható környezetében. Nézz körül a festmények eredeti helyszínén a Google Street View segítségével. Sajnos a csodás pink villa eltűnt, és a kék épület romokban hever. A valaha volt festői látvány örökre eltűnt az eredeti helyszínről, de létezik két festmény, melyek segítenek emlékezni. Ha belegondolsz, a “megörökíteni” egy gyönyörű kifejezés.


Jó dolgok történnek, amikor egy kíváncsi művész nem leli egy Patkó Károly festmény látképét a címben szereplő településen

Az utóbbi időben néhány magyar festőt, pl. Ziffer Sándor-t és Patkó Károly-t tanulmányoztam. Miután pl. a Roquebrune című festményemen feltűntek Ziffer színei és atmoszférája (aminek nagyon megörültem), szándékosan Patkó Károly “San Vito” című képét választottam inspirációnak (teljesen más színek és más atmoszféra, pusztán a kísérletezés kedvéért). Egyik San Vito nevű települést a másik után vizsgáltam meg a Google Street View segítségével, de egyik sem hasonlított a Patkó Károly festményén látható falura. Meglepve konstatáltam, hogy Patkó Károly festményének ezek szerint kezdettől fogva rossz a címe. A San Vito című festmény nem San Vito-t ábrázolja. Már megint beletenyereltem egy felfedezési lehetőségbe.

Ez bizony nem San Vito! Úgy tűnik, hogy a festményt a kezdetektől napjainkig rossz címmel dokumentálták. (megjegyzés: Patkó Károly művészete szellemi jogi szempontból immár közkincs.)

Ez bizony nem San Vito! Úgy tűnik, hogy a festményt a kezdetektől napjainkig rossz címmel dokumentálták. (megjegyzés: Patkó Károly művészete szellemi jogi szempontból immár közkincs)


A motivációm, hogy megfessem ezt a konkrét falut, csak nőtt, amikor arra gondoltam, hogy (a téves és a széles nyilvánosság előtt sosem korrigált cím és helyszín miatt) jelenleg én lehetek az egyetlen emberi lény, aki szándékosan hozhatok létre egy valamennyire hasonló digitális művet, egy kicsit más szemszögből, a saját stílusomban. Ez úgy tűnik, hogy egy ismerős és visszatérő lehetőség az életemben, melyhez hozzá kell szoknom. (Emlékezzünk csak Monaco-ra és Berény Róbert-re… Mint már korábban utaltam rá, alapos és önálló vizuális kutatás után megleltem és megfestettem Berény egyik Monaco-i helyszínét, egy másik szemszögből. Nagy élmény volt! Megjegyzem, hogy nem csupán magyarul írtam erről, hanem egy sokkal komplexebb angol nyelvű blog bejegyzésben is megörökítettem a történetet.) Tulajdonképpen csak nemrég kezdtem ilyesmivel foglalkozni… egy éve sincs, hogy festek és inspiráló helyszíneket keresek. Rengeteg festmény létezhet rossz címmel, és rengeteg képnek kellene korrigálni a helyszínét vagy éppen fel kellene fedezni, hogy hol készült.

(Miközben ezzel a témával foglalkoztam, hirtelen feltűnt, hogy milyen sok tehetséges ember halt meg aránylag fiatalon 1941-ben… Patkó Károly, Amrita Sher-Gil, Aba-Novák Vilmos, Virginia Woolf…)

Mivel nem akartam, hogy a Patkó reprodukció legyen az egyetlen vizuális input, és mivel látni akartam az eredeti falut, kitartóan kerestem a valódi helyszínt. Ösztönösen meg voltam róla győződve, hogy kell lennie egy falunak Olaszországban, amelyik úgy néz ki, mint az úgynevezett “San Vito” látkép. Úgy tűnik, hogy a kép címe mindig is rossz volt és ez számomra bizarr. A téves címnek sok magyarázata lehet. Például, ha Patkó az úti skicceit használta a későbbi tempera kép megfestéséhez, akkor még az is lehet, hogy ő maga adott rossz címet a képnek. Nehéz elképzelni, de van rá esély, főleg, ha sokat utazgatott akkoriban és kevés időt töltött egy helyen. Ugyanakkor a képeknek a festők halála után gyakran mások adnak címet… a műkereskedők és a művészettörténészek sajnos gyakran felszínesek, amikor címet adnak egy műalkotásnak.

Előfordult, hogy rápillantottam egy Párizs-i városrészletet ábrázoló festményre, és azonnal láttam, hogy a Naplemente című kép csak Napfelkelte lehet… Nem gondolkoztam, csak ránéztem és ösztönösen tudtam, hogy rossz a napszak a címben, pedig a kép torzításai miatt nem volt pl. azonnal nyilvánvaló, hogy melyik hidat látom (a Pont Saint-Michel a Pont Neuf irányából nézve). Az intuíciómat perceken belül vizuális tényekkel tudtam alátámasztani a Google Street View segítségével: a festőnő, Corini Margit, kelet felé tájolta a kompozíciót, de a kép a mai napig rossz cím alatt fut online. Baráti körben is terjesztem ezt a kedvtelésemet, volt, hogy filmrészletet adtam fel feladványnak, miután sikerült megtalálnom egy bizonyos Manhattan-i helyszínt. Olyan valakit kértem meg, hogy keresse meg a Párizs-i látványt, ha van hozzá kedve, akit én vezettem rá a Google Street View és Google Earth alapú helyszín keresés élvezetére. És volt hozzá kedve! Ráadásul gyors volt, mint a villám! Meglehetősen jó vizuális készségű építész-művészről van szó, többek között a kedvenc profil képem is az ő tehetségét dicséri, úgyhogy minden képessége megvan, hogy megtalálja a megtalálható látképeket.

Komolyan mondom, nagyon jó és láthatóan hasznos játék. A múlt évben örömmel fedeztem fel, hogy volt, aki ilyesféle online játékot fejlesztett ki, bár nem művészeti síkon (pedig milyen jó lenne egy ilyen app).

Ugyanakkor biztos, hogy vizuális szempontból nem mindenki születik tehetségesnek. Egy alkalommal ugyanez a művész barátom lerajzolt két nőt egy kávéházban. Tanúja voltam a szituációnak és a figurák teljesen felismerhetőek voltak a képen. Az egyik nő molett volt, a másik átlagos. A molett nő ránézett a képre, és döbbenetünkre, halál komolyan ezt kérdezte: “Melyik vagyok én?” Nem tudta beazonosítani önmagát. Magunk között szólva, már a téri elhelyezkedéséből is fel kellett volna ismernie saját magát, de a testméretek végképp nyilvánvalóak voltak. Számomra egészen megdöbbentő, hogy egyes embereknek mennyire nincs reális önképük és/vagy térlátásuk.


Hogyan találtam rá a valódi helyszínre…

Tulajdonképpen nem is volt olyan nehéz, csak kitartónak kellett lennem (és az voltam). Ezekre a kulcsfontosságú részletekre koncentráltam: egy tengerparti olasz falu magas hegyek között, láthatóan egy nagyon szűk völgyben, tengerparti út viadukton, egy magányos épület a strandon, és egy különösen jellegzetes fehér épület, hatalmas teraszokkal, a jobb felső sarokban. (A legvalószínűbb San Vito jellegzetesen lapos, széles, és a tengerpartja meglehetősen hosszú. Egyáltalán nem hasonlít a Patkó képén látható falura, úgyhogy be sem linkelem. A művészettörténészek úgy tartják, hogy Patkó Károly járt (az egyik) San Vito-ban, ez szerepel az életrajzában, de a korrekt (avagy a festményen látható) falu, melyet végül felfedeztem, nem szerepel egyik online életrajzában sem, melyeket átolvastam.

Utazási emlékeim, online kutatásaim és a festett térélmény hatására úgy döntöttem, hogy a keresett falu nem az Adriai-tenger mellett, hanem a Tirrén-tenger partján található. Rengeteg tengerparti falut megnéztem, de nem leltem rá azonnal a keresett településre. Voltak hasonló falvak, de tudtam, hogy tovább kell keresnem.

Úgy döntöttem, hogy egy kicsit félreteszem a Google Earth-t és Street View-t, és visszatértem szokásos inspiráció vadászatomhoz a Google képkeresőben és a Pinterest-en… gondoltam, addig is, míg meglesz a keresett falu, felkutatok egy másik izgalmas és festői térélményt. Érdekes módon, ekkor láttam meg egy fotót az Amalfi parton fekvő Atrani-ról. Azonnal tudtam, hogy ráleltem arra a falura, ahol Patkó Károly (a tévesen) “San Vito” című képét festette (vagy legalábbis felvázolta)!!!! A légi fotó ugyan pici volt, de a téri szerkezet számomra egyértelmű volt. Nyomban további fotókat kerestem Atrani-ról és azonnal visszatértem a Google Street View-hoz. Mondanom sem kell, hogy meglehetősen boldog voltam!

A helyes cím tehát “Atrani” … avagy “A Sárkány Völgye“.

Az alábbi kép interaktív, mozgatható, ha alaposabban körül szeretnél nézni a mai Atrani-ban. Úgy állítottam be, hogy azonnal Atrani-nak az az oldala jelenjen meg, melyet Patkó Károly megfestett. (A blog bejegyzésem végére beillesztettem egy kompozit képet a régi Atrani-ról, abból az időből, amikor a strandon lévő épület még háromszintes volt.)


Itt az ideje, hogy fessek!

Amint volt időm, és miután megvizsgáltam Atrani-t minden lehetséges szemszögből, megragadtam a tabletemet, betöltöttem az ArtRage-t, és megfestettem a saját, főleg az építészeti és téri szerkezetre koncentráló digitális verziómat. Festményem kissé absztrakt, anakronisztikus juxtapozíció és egyben homage Patkó, Csontváry, Escher és Derain felé. Az is lehetne a képem címe, hogy: “Kanyarodó Út Atraniban” (most komolyan, remélem, hogy látod ezeket a fontos részleteket Patkó képén: a kanyarodó út, a víz a “híd alatt”, és a kétkerekű kocsi a három lóval… jó lenne tudni, hogy miért három és mit jelképez a három ló… és egy alak a kocsin… és egy vízhordó alak az úton… és halászok a hídra emlékeztető viadukt alatt… szerintem ezek mind Derain L’Estaque-i Kanyarodó Út-jára utalnak… L’Estaque pedig Cézanne-ra utal…), vagy adhattam volna a képemnek azt a címet, hogy “Egy Pink Villa az Atrani Út Alatt” (Csontváry miatt), vagy lehetne az is a cím, hogy “Escher Kockái Atrani-ban” (Escher Patkóval egy időben rajzolt Atrani-ban, és eljátszadozott a falu bőségesen rendelkezésre álló kubusaival).


Címadás és a saját művészeti irányom elnevezése

Azt gondolhatod, hogy címet adni könnyű, pedig nem. A falu nevétől, a mágikusnak tűnő címen át, a teljesen filozofikusig minimum fél tucat cím volt a listámon… és órákig tanakodtam, mire döntöttem. Egy ponton úgy hívtam a képet, hogy: “Posszibilizmus és Eternalizmus Atraniban”. Így született meg a saját irányzatom neve: Posszibilizmus. Én egy posszibilista vagyok. Ez egy létező (kulturális, humán) földrajzi fogalom (okkal nem a filozófiai Posszibilizmust választottam), és azt a nézetet fedi, hogy a földrajzi elhelyezkedés csak minimális mértékben befolyásolja a kulturális fejlődést. A kulturális fejlődést főleg a társadalmi körülmények határozzák meg. Amikor a kulturális földrajzi Posszibilizmust művészeti fogalommá alakítottam, hozzáadtam az örökké fejlődő internetet és technológiát, és egyszerűen kiterjesztettem a földrajzilag határtalan művészeti alkotásra (mindegy, hogy fizikailag hol vagy, megvannak az eszközeid, hogy online bárhol lehess), és a fenomenálisan rugalmas kulturális evolúcióra (internalizálhatsz és befolyásolhatsz más kultúrákat, anélkül, hogy azokban a konkrét kultúrákban és társadalmi környezetekben léteznél… földrajzilag és fizikailag nem kell ott lenned).

Online alaposan megvizsgáltam Atrani-t. A parton álló épület eredetileg magasabb volt, mint a viadukt, de a harmadik emeletet egy idő után lebontották és az 1950-es években kiszélesítették az utat, amitől az út ma a szó legszorosabb értelmében a strand épület felett helyezkedik el. Miközben Csontváry csodás Taormina-i pink villája megsemmisült (ami engem személy szerint nagyon elkeserített), Patkó magányos épülete Atrani-ban még ma is áll, még ha egy picit kisebb és rejtettebb is. Emlékszem, hogy milyen boldoggá tett a felismerés, hogy Monaco túlfejlesztett közegében a Berény Róbert által megfestett hangulatos kikötői épületek még ma is állnak (szinte pont olyanok, mint bő 100 éve, csak időközben párszor átfestették, itt-ott minimálisan átépítették őket). Hasonlóan örülök annak, hogy Atrani jó polgárai szinte eredeti szépségében őrizték meg ezt az apró falut. Itt csatlakozik a földrajzi Posszibilizmusból kreált irányzatomhoz a filozófiai Eternalizmus. Kulturálisan gazdagítom Atrani story-ját, a nappalim kanapéján ülve (tehát egy másik országból), továbbá gazdagítom a saját kulturális örökségemet is (ez az internet korszak Posszibilizmusa), mindezt kombinálom azzal a filozófiai feltételezéssel, hogy a digitális festményem lehetősége örökké létezett Atrani-ban, és csak látszólag jött létre az utóbbi napokban (a lehetőség mindig is létezett, és csak most érzékeljük a manifesztációt… ahogy Patkó festményének lehetősége is örökké létezett… gondoljunk az ősemberre… ott ült a barlang előtt, és nem tudta, hogy egy futurisztikus társadalom építőköveit pöcögteti a tűz mellett egy bottal… minden ott volt már körülötte és benne… minden mai létező lehetősége ott volt… és ugyanígy, mi is, ma is, térdig járunk a még fel nem ismert lehetőségekben… minden ma élő embernek adhatnánk méltóságteljes életet, ez csak közös agymunka kérdése… a legokosabbak még gondolkodnak rajta, hogy ezt hogyan lehetne megértetni a többi emberrel és hogyan lehetne elérni… láthatóan szinte minden a közös képzelőerőnkön múlik… vagyis a lehetőségek nem függnek az időtől, a lehetőségek örökké létezők, csak a lehetőségek manifesztációihoz vezet valamiféle idő szekvencia… miközben a tér az emberiség létidejében nem sokat látszik változni… szinte megérinthetném Patkó Károly vállát Atrani-ban, amint rajzol, pedig még nem is éltem, amikor ő már halott volt… én így értelmezem az általam megfogalmazott művészeti Eternalizmust). De miért is nem hagyok fel itt és most a filozófiailag kevésbé érdeklődő olvasók őrületbe kergetésével. Nem mindenki szeret és tud elvontan gondolkodni. Vannak, akik nyitott szemmel, ép látással sem látnak. És vannak, akik csukott szemmel is tisztán látnak. Sajnálatos módon általában az előbbiek verik fejbe az utóbbiakat. Ha nem így lenne, sokkal ideálisabb társadalmakban élnénk.


Patkó Károly Atranija, inspirációi, a festők titkai és az örökké tartó homage művészről művészre

Ha összeveted Patkó Károly festményét a valódi Atranival, láthatod, hogy megváltoztatta a kompozíciót, vagyis középre tolta a baloldalon látható épületeket. Egy széles látképet álló portré formátumban festett meg. Azt hiszem tetszettek neki a homlokzati ívek, ezekkel meg akarta bontani a szögletességet, illetve azt szerette volna elérni, hogy a festmény jobboldali épületei és az önkényesen középre pozicionált kubusok homogén tömeget alkossanak. A hegycsúcsok a valóságban soha sem néztek ki úgy, ahogy Patkó képén, úgyhogy valószínűleg improvizált, de az épületek fölött látható mezőgazdasági jellegű teraszok megfelelnek a valóságnak. Nem tudom pontosan, hogy milyen színűek lehettek Atrani házai 1931-ben, de Patkó főleg kékes, zöldes, fehér, és barnás színeket választott… Ugyanakkor, ebben a régióban az épületek ritkán kékek vagy zöldek. Patkó Károly verziója sok tekintetben messze elrugaszkodik a valóságtól, ugyanakkor a falu mégis tökéletesen felismerhető. Amikor Atranit skiccelte, valahol a viadukt felett, és a Bűnbánó Szent Mária Magdaléna Templom körül vagy kicsivel alatta állhatott.

A művészek befolyásolják egymást és emlékeznek egymásra. Pl. boldogan fedeztem fel azt, ahogyan Derain “vadL’Estaque-i festménye Patkó művészetét befolyásolta. Úgyhogy nem értek egyet azokkal, akik szerint szinte csak az olasz festészet inspirálta. Cézanne és Derain bizonyára a példaképei voltak.

Véleményem szerint nem az Atraniban született képe az egyetlen, melyen visszaköszön Derain L’Estaque-i gondolata… Kapásból van itt még két Patkó festmény, melyek engem Derain-ra emlékeztetnek: a “Libapásztorlány a Pataknál” és a “Subiaco” egyik verziója: nők ruhát mosnak egy híd mellett, sudár fák alatt, miközben egy kocsis áthajtat a magasan ívelt hídon.

Tényleg biztosak lehetünk abban, hogy Patkó Károly sosem járt L’Estaque-ban? Anno egy csodás kis halászfalu volt, ma Marseille egyik kerületének része, és a partja sajnos elszomorítóan ipari jelleget öltött. Jó lenne tudni, hogy Patkó hol festette a “Libapásztorlány a Pataknál” című képet, 1928-ban. Az 1926-os “Csendélet Almákkal” című képét nyilván Cézanne hatása alatt festette. Természetesen nem kell egy konkrét helyre utazni Franciaországban, hogy az ember inspirációt merítsen. Pontosan tudom. Még a plein air nagy mesterei is használtak (általában titokban) fényképeket. Patkó bárhol festhette a képet, akár a Balaton mellett is… pl. egy Derain reprodukció hatására. Bármi lehetséges.

Könyvében David Hockney arról ír (és egy kétrészes BBC sorozatban arról mesél), hogy a régi nagy festő mesterek, pl. Caravaggio Camera Obscurát, konkáv tükröket és lencséket használtak, amikor alkottak. Voltak trade secret-ek, melyek meggyorsították a folyamatokat, és precízebbé tették az ábrázolást. Hockney kutatásai szerint már 1420 óta használtak konkáv tükröket… a festő a Sötét Kamrában, vagyis a Camera Obscurában ült, miközben a modell erős napfényben a Sötét Kamrán kívül foglalt helyet… Caravaggio 1595-ben térhetett át a konkáv tükörről a fejlettebb lencsére… és 1839-ben feltalálták a fényképezést… Vagyis 1420 és 1839 között a festők titokban áttértek a körberajzolásra, aztán 1839 után fokozatosan visszatértek az 1420 előtti módszerekhez. A tükör és lencse használók ügyes művészek, nagy mágusok és dörzsölt üzletemberek voltak, akik mindent bevetettek, hogy az akkori eszközökkel (technológiákkal) a lehető legélethűbb vagy legizgalmasabb látványt hozzák létre (miközben hatékonyabban dolgozhattak). A festőművészek a konkáv tükrök előtti korszak emberibb, könnyedebb és kevésbé élethű látványvilágához a fotográfia korszakának hatására tértek vissza. A digitális fényképezés, a virtuális valóság, a mesterséges intelligencia és a robotika korában a művésznek már nem feltétlenül a vizuális élethűség megteremtése a feladata, hanem pl. az érzelmi ábrázolás. Impresszió, expresszivitás, vadság, játék a fénnyel, a hangulatokkal, a térrel. Ebben a korszakban az is teljesen magától értetődő, hogy egyre többen festenek digitális eszközökkel. Az intelligens művész nyitott korszaka minden lehetséges új eszközére. Nem a tükör, nem a lencse, és nem is a digitális eszköz hozza létre a mozdulatokat és a jeleket, hanem az ember egyéni és spontán működő idegrendszere.


Összevetettem a két festményt (megtükröztem a Patkó festményt, és mellé tettem Derain festményének megfelelő részletét, a jobb oldalon).

Összevetettem a két látványt, mert úgy éreztem, hogy közük van egymáshoz. (Megtükröztem a Patkó festményt, és mellé tettem Derain festményének megfelelő részletét, a jobb oldalon.)


Homage művészről művészre… egy természetes ösztön, mely örökké tart. Sokszor nem kell odautaznod, hogy érezz és láss egy helyszínt, főleg manapság! Máskor hiába is utaznál! Olyannyira, hogy egyes helyszínek, mint pl. Derain “vad” stílusú képének vidékies tája, és Csontváry pink villája, örökre eltűntek, és ezek a látványok érzékeny emberek egyedi művészetében élnek tovább. Már hiába mész L’Estaque-ba, hogy megállj a kanyarodó út mellett és lenézz a fák alatt serénykedő vagy pihenő emberekre. Inkább nézz Derain alkotására, ha inspirációt keresel. Atrani, a Sárkány Folyó Völgyében, különösen szerencsés falu, hiszen alapvetően megőrizte eredeti szépségét, és a mai napig gazdagodik a művészi kreativitás által, mert ma is inspirálja a művészeket.

Úgy vélem, sőt, teljesen biztos vagyok abban, hogy Patkó Károly festményének korrekt helyszíne és címe nem “San Vito”, hanem “Atrani“.


Atrani a múltban

Atrani a múltban



Regina Saphier: Finding the Valley of the Dragon


Village in the Valley of the Dragon by Regina Saphier freehand painting on digital medium April 12. 2016 small wtrmrkd

Village in the Valley of the Dragon by Regina Saphier freehand painting on digital medium April 12. 2016


Regina Saphier: Finding the Valley of the Dragon

Károly Patkó’s so called “San Vito” (see reproduction below) wasn’t painted in San Vito (in my opinion) and nobody ever noticed? I am sure the painting’s title would have been corrected by now had anyone had a clue about the real location. This is the story of my artistic process today, combined with the story of finding the correct place of creation of a well known Hungarian painting. Above you can see my own rendering of the Italian village where in my opinion Károly Patkó actually painted his picture.

My research process

You might think that I just grab my stylus and tablet, start ArtRage and begin to paint as if in a trans state. But that is not my process. I do a lot of research before I start sketching and painting. For example I research paintings, colors, styles, artistic periods and movements, artist bios, cities, villages, particular locations, spacial experiences and I compose my inspiration of the many impulses. I like to start painting when I can no longer wait to create because I so clearly see what I want to realize.

During such a research process in 2015 I discovered a specific location of a Róbert Berény painting and I created my own rendering from another angle, plus I wrote about the process. I keep making other discoveries as well. For example I discovered purely visually where Tivadar Csontváry Kosztka created two of his paintings in Taormina (“Full Moon over Taormina” and “Blossoming Almonds in Taormina“), in spite of the fact that this location is not in the visible vicinity of the ruins of the ancient Greek theater (that he also depicted there). Explore the location of the paintings via: Google Street View… Sadly the amazing pink villa is gone and the blue building is in ruins… The picturesque vista that once was is forever lost, but we have two paintings to help us remember.

Good things happen when a curious artist can not find the vista of a Patkó painting in the settlement stated in the original title

Recently I studied some Hungarian artists like Sándor Ziffer and Károly Patkó. After having noticed Ziffer in one of my paintings (I noticed his impact on my colors and atmosphere on my Roquebrune painting), I wanted to intentionally be inspired by Patkó, so I picked his “San Vito” painting. I looked at the particular “San Vito” via Google Street View (in fact I ended up looking at several places called San Vito) and I was surprised to realize that this Patkó painting has a clearly incorrect title. “San Vito” could not possibly depict San Vito!

This is not "San Vito". The painting apparently always had the wrong title until today.

This is not “San Vito”. The painting apparently always had the wrong title until today. (note: Károly Patkó’s art is now in the public domain in Hungary.)

My motivation to paint this village only grew when I had this in mind: I am the only one in the world right now who could intentionally create a somewhat similar digital painting from a slightly different angle in my own style. This is a familiar and reoccurring opportunity in my life! (Remember Monaco and Róbert Berény? I was able to find the place and paint it from a different angle. It was so much fun!) I just started to paint and research inspirational locations recently. How many paintings have the wrong location, the wrong title or no known and specified location at all (that could be discovered)?

(By the way, just as a side note: Károly Patkó died 75 years ago this April. 1941 killed so many talented artists I remember… Károly Patkó, Amrita Sher-Gil, Vilmos Aba-Novák, Virginia Woolf…)

Because I did not want to use the Patkó painting as my only visual input, and wanted to see the actual village, I kept searching for the real location. For some reason I was convinced that there should be a village that looks like the one on Patkó’s so called “San Vito”. Supposedly this has always been the title of the painting and that is really bizarre to me. Yet, there could be several explanations… for example Patkó used his own travel sketches to create his final tempera versions… it is possible that he himself gave the wrong title… hard to believe but possible… However, in many instances titles are given by other people once the artist is no longer alive… and art historians and art dealers are often superficial when coming up with a title… (eg.: in one case I could tell that a painting depicting a bridge in Paris with the title “sunset” was actually a “sunrise”… I just looked at it and knew instinctively that the title is wrong and it really was… I could show it on Google Street View within minutes).

How did I find the correct location of Patkó’s painting?

It was actually not that difficult, but I had to be persistent (and I was). The key components that I focused on were: a sea side Italian village among high mountains, apparently in a very narrow valley, a beach road on a viaduct, an isolated building on a very small beach and a particularly typical white building in the upper right corner with prominent terraces. (When you look at the most likely San Vito on Google Street View, you can clearly see that it is characteristically flat, broad, and the beach is rather long. Does not even resemble the village on Patkó’s painting. We know that he traveled to San Vito, it is in his bio, but the correct village that I finally discovered is not mentioned in his biographies that I looked at online.)

Next (based on the spacial experience on the Patkó painting, plus based on former travels and online research) I decided that while San Vito is at the Adriatic Sea, the place I am looking for must be on the Tyrrhenian Sea shore. I looked at several villages there, but I could not find it immediately. There were some similar places, but I knew that I had to keep searching.

I decided to stop looking at Google Earth and Street View for a while and went back to my usual inspirational Google Image search for the area to find the next best place to paint until I find the location of the Patkó painting. And interestingly that is when I stumbled upon a photo of Atrani on the Amalfi coast. And I knew immediately that I discovered the village where Patkó actually painted his “San Vito”! The aerial image was small, but the spacial structure was obvious.

The correct title should be “Atrani“… or “The Valley of the Dragon“.

This below is an interactive image, you can move it around to see Atrani today. I positioned it so that you can see the side of Atrani that was depicted by Károly Patkó. (At the end of this blog post I also included a composite image of Atrani in the past when the beach building was higher than the road.)


Creation time!

As soon as I had the time and as soon as I looked at Atrani from every possible angle, I grabbed my tablet, opened ArtRage and created my own architectural rendering of the village! It is a slightly abstract anachronistic juxtaposed homage to Patkó, Csontváry, Escher and Derain. It could be called: “The Turning Road at Atrani” (seriously, I hope you see these on Patkó’s painting: the turning road, the water and the gig with the three horses… and the man on the gig… and the water carrying figure on the road… and the people under the bridge-like viaduct… all references to Derain’s L’Estaque)… or “A Pink House in Atrani Below the Road” (because of Csontváry)… or “The Escheresque Cubes of Atrani” (Escher did actually draw Atrani and played around with the many cubes in the village)…

Coming up with a title and an artistic movement

You might assume that it is easy to come up with the right title of a painting, but that is also not the case. I spent hours finalizing the title… from the simple location name to the more magical one to the totally philosophical I had half a dozen different titles. At one point I called it: “Possibilism and Eternalism in Atrani”. And with that title I came up with a name for my own artistic movement: Possibilism. It exists as a cultural, human geographical terminology and basically covers the fact that geography is only a minimal limitation for cultural development. Cultural development is mainly determined by social conditions. When I transformed Possibilism into an artistic terminology I added the ever evolving internet and technology… plus I extended this terminology to geographically unlimited artistic creation (no matter where you are, you have the means to be anywhere online) and phenomenally flexible cultural evolution (you have the option of internalizing and even influencing another culture without being in that particular cultural or social environment).

I researched the village online. Initially the building on the Atrani beach was higher than the road, but the third floor was demolished after a while and in the 1950s the road was broadened and so the road is now literally above the beach building. While Csontváry’s beautiful pink villa in Taormina did not survive (and that made me very upset), Patkó’s beach house at Atrani is still there, even if a bit smaller and partly covered by the road. I remember how happy I was to see that in hyper developed Monaco the houses that Berény depicted were almost perfectly preserved in the harbor. Just the same, I am glad that the good people of Atrani maintained the beauty and authenticity of their village. This is where Eternalism joins Possibilism… Me culturally enhancing the story of Atrani from my living room couch (in another country) and also enhancing my own cultural heritage (Possibilism of the internet age) combined with the philosophical assumption that my digital painting’s possibility existed eternally in Atrani and only apparently came into being during the last couple of days (at least the possibility has always been there and only now do we recognize the manifestation … the same way the possibility of Patkó’s painting has always existed… think of a caveman sitting in front of a cave… that creature at the campfire cluelessly poked the building blocks of a futuristic society with a stick… the possibility of everything that exists today already existed within and without… the same way today we walk around knee-deep in yet unrecognized possibilities… for example we could ensure a dignified life to every human being alive, this is only a matter of joint mental effort, because the resources are there… the smartest individuals are however still trying to figure out how to enlighten all people about this and make the obvious possibility manifest itself as our everyday reality… clearly almost everything is dependent on our joint imagination… so, possibilities are not dependent on time, possibilities are apparently eternal, a time sequence is only relevant to the manifestation of the eternal possibilities… while space itself does not appear to be changing much during humanity’s existence… I could almost touch Patkó’s shoulder in Atrani while he is drawing, even though I did not exist yet when he was already dead… this is how I conceptualize my artistic Eternalism. When you notice a possibility and act upon it, you become the channel of manifestation of something eternally possible… ). But why don’t I stop driving the less philosophically inclined readers mad right here and right now…?


Pantkó’s Atrani, his inspirations, the secrets of artists and the ever lasting series of homages from artist to artist

If you compare Patkó’s painting with the real place (Atrani), you will notice that he changed the composition by eliminating the middle section of the residential layer… he virtually pushed some of the buildings from the left to the right to place them in the middle. He turned a broad landscape view into a tall portrait view. I think he did these because he found the series of arches on the left more interesting and wanted to make the middle section architecturally more homogeneous with the buildings on the right side. The mountain tops never looked like that in reality, he probably improvised, but the agricultural terraces above the buildings are correct. I am not sure about the colors of Atrani in 1931, but Patkó mainly opted for blues, greens, white and brownish colors… However, in this region blues and greens are less common on buildings. His version is in many ways removed from reality and yet the village is perfectly recognizable. While sketching Atrani he was standing above the viaduct, at or under the Collegiate Church of St. Mary Magdalene.

Artists influence each another and remember each other. I happily discovered how Derain’s L’Estaque painting impacted Patkó’s art… so, I disagree that his art was mostly inspired by the Italian tradition… Cézanne and Derain were definitely among his role models.

In my opinion this is not the only painting where he remembers André Derain’s The Turning Road in L’Estaque. Here are two other Patkó paintings that remind me of Derain: “Goose Girl by the Brook” and one of the “Subiaco” versions: women are washing clothes under a bridge and a coach driver is crossing the bridge.

Are we a 100% sure that Károly Patkó never went to L’Estaque? Alternatively: Where did he paint the “Goose Girl by the Brook” in 1928? His 1926 “Still Life with Apples” was clearly inspired by Cézanne… Of course one does not have to go to a particular place in France to be inspired by it… I know that. Patkó could have painted this canvas anywhere… even at Lake Balaton… based on a reproduction of Derain’s canvas. Anything is possible.

In his book (and in his two part BBC series) David Hockney talks about how old masters like Caravaggio used the Camera Obscura, concave mirrors and lenses when sketching and painting. There were trade secrets that made the artistic process more precise and faster. According to Hockney’s research concave mirrors were used as early as 1420… the artist worked in a Dark Room (Camera Obscura), while the model sat in strong sunlight outside of the Dark Room… Caravaggio apparently switched from the concave mirror to the more advanced lens in 1595… and in 1839 photography was invented. That means that between 1420 and 1839 artists gradually and secretly transitioned from freehand sketching to freehand tracing, and after 1839 artists regressed back to freehand sketching and painting that were the norm before 1420. Those who used concave mirrors and lenses were skilled artists, even appeared to be amazing magicians to less insightful people, and were most definitely shrewd businessman, deploying every possible contemporary technology to create the most lifelike and exciting images while optimizing their working conditions and maximizing their profits. Artists returned to the methods of the pre-mirror time period again as a reaction to the invention of photography. Today, in the age of digital photography, virtual reality, artificial intelligence and robotics, the task of the artist is no longer the creation of a lifelike visual experience, rather the task is eg.: the visual representation of human emotions. Impression, expression, fauvism, playing with light, color, atmosphere and space. In this age it is also absolutely self evident that more and more people are painting with digital tools. The intelligent and creative artist is open to every possible new tool his or her era has to offer. It is not the mirror, not the lens and not the digital tool that creates movements and marks. The artist’s personal and spontaneous neurology is what creates art in a larger social and cultural context, while channeling a universal and endless stream of possibilities.

Patkó tükrözve és Derain Estaque részlet

My comparison of the two (I flipped the Patkó painting and added a section of the Derain painting on the right).

Homage from artist to artist… a natural instinct that goes on forever. In many cases you don’t have to go to a particular location “to feel” or “to see” the place, especially today! However, the way I see it, the famous location of Derain’s fauvist painting is lost, just like Csontváry’s pink villa… these places live on in sensitive people’s unique art. Atrani (in the valley of the River Dragon) is a particularly lucky village that mostly maintained its original charme and is also enriched by artistic creativity.

As of today I am suggesting a new title and a new location for Károly Patkó’s “San Vito” painting. It should be called: “Atrani“.

Atrani in the past

Atrani in the past


Regina Saphier: The Tale of the Dictator Who Became a Flower Salesman

Regina Saphier: The tale of the dictator who became a flower salesman (

Regina Saphier: The Tale of the Dictator who Became a Flower Salesman (       Illustration concept by Regina Saphier, Drawing by Rózsa Ferkó Károly


Regina Saphier: The Tale of the Dictator Who Became a Flower Salesman

How unlikely! Right? No dictator ever gave up his or her corrupt power voluntarily. Have you ever wondered why? I did. First, I actually just contemplated good, responsive, inclusive leadership that my country never really experienced. And from there I got to the question: Just what is it about a society as an organism that does not permit healthy leadership? And I ended up with the image of a bodily tissue that can not properly repair itself and if you imagine a country as an organism, the dictator is produced by dysfunctional social tissue. This is why a dictator is a cancer cell, his or her immediate and selfish community is the cancer, and the country is the organism that is dying of cancer. There are dangerous and deadly cancers, and there are milder, more treatable cancers. Orbán and his entourage is colon cancer with no metastases (yet), actually rather preventable if an organism is well informed and takes care of itself, and also curable if someone finds the right surgeon. The North Korean dictator (whoever happens to be in that role at any given time) and his closest people are more of a metastatic, aggressive breast cancer. Much harder to treat and cure. So, dictators are identifiable on a scale. Yet almost all dictators (as all cancers) can be dangerous when untreated or when more social tissue degeneration is possible.

Add the Dunning and Kruger effect (of followers and the dictator for this essay’s sake).
“For a given skill, incompetent people will:
– fail to recognize their own lack of skill
– fail to recognize genuine skill in others
– fail to recognize the extent of their inadequacy
– recognize and acknowledge their own lack of skill, after they are exposed to training for that skill.”

Nouriel Roubini posted a blog regarding the possible fragmented, nationalist dystopian future of the EU if Orbán-omics (illiberal and nationalist state capitalism) spreads across Europe. Orbán is the populist, nationalist authoritarian mini dictator of Hungary (unfortunately there are similar jerks running countries in the EU). He has (or pretends to have) seriously archaic views of gender roles, social values, and economics. Yet, when he “worries” about the safety of Europe, he will say that he wants to “protect values like gender equality”. He will say whatever he thinks he needs to say, depending on his latest vision and depending on the environment. In my opinion Orbán is a classical, ambitious, manipulative sociopath with no remorse.

How are sociopaths* made?

Sociopaths are more common than you would expect (especially among politicians, business people, lawyers and the like). Becoming a sociopath is a typical (mal)adaptive developmental reaction to e.g.: a physically abusive father, and to a massive change in environment and social class that forced him (or her) to experience a lot of humiliation. Orbán is highly ambitious, a calculating risk-taker, superficially charming (according to his equally superficial followers), plus he is manipulative, aggressive, paranoid, delusional, experiences no remorse, does not have much cultural capital, yet he thinks he is always right, believes he is smarter than (almost) anyone else, has a grandiose sense of self, has no insight into the fact that he is a sociopath, uses others as tools, is constantly in a hero pose, does not experience true empathy for others, and is full of narcissism… and now add the constant secret inferiority complex that causes a lot of frustration (he uses metaphors in his political speeches that refer to physically abusive acts and he also spoke as a young man about his father beating him brutally)… he always knows when he is hurt or bothered, but is oblivious to other people’s feelings… (a sociopath is different from a psychopath in that the sociopath is a creation of his or her experiences and environment, while a psychopath is born without empathy and conscience… now that psychopathy can be diagnosed with MRI and genetic testing, I wonder how sociopaths could be spotted with these tests…). Of course I am only theorizing here, I am not a psychiatric professional, and obviously I can’t put dictators in an MRI machine. It is however hard not to see the traits that are used for diagnosis in psychology. Should we not have our politicians tested with objective tools before letting them take control of our national institutions, networks and budgets? Should we not stop psychopaths and sociopaths from ruining our national economy and international country image? (*After I wrote this blog I did more research regarding this personality disorder and I came across the term “acquired psychopathy” instead of “sociopathy”. The major difference between psychopaths and acquired psychopaths is that the latter experience fear and anxiety because their amygdala is functional. I also encountered the term “pro-social psychopath” as opposed to “anti-social psychopath”… plus there are “transient psychopaths”… eg.: some people – when their loved ones are threatened – automatically turn off their empathy towards attackers. Unfortunately, “fearless dominance” that is so typical of born and dangerous psychopaths without anxiety is also very attractive to followers as a perceived leadership trait… During hard times many people unconsciously or consciously gravitate to leaders who are able to pretend to be fearless or are in fact dangerously fearless…)

Notice that young Orbán used to be relatively honest and uninhibited (he says he did not study much, but he is clearly intelligent). In this interview he talks about domestic abuse he experienced and how he would rather be a political science professor, after realizing that he is not a very good football player. He emphasizes that he does not want to be a politician sitting in meetings for 8 hours a day. And yet soon after this he found himself to be an elected official, a member of the Hungarian parliament and today he is a prime minister. So, was he telling the truth about his dream career as a professor, or was he extremely confused about his own aspirations during his mid twenties? (Note: This video keeps disappearing from YouTube… until now I had to add three different links to keep this video available in my blog post! Orbán is clearly trying again and again to erase his liberal self from the web, because it shows that neither his liberal, nor his autocratic self is the truth… he is just an empty role player. He has no core values to build his own moral character. He is very similar to Trump! Did you know that Trump used to be liberal? These types of people will “become” anything to be in a power position.)



Within two decades Orbán went from liberal political youngster studying law, to conservative political football player acting like a politician for economic gain. He does not have any deep and real core values, he is not a person of deep thought and definitely whimsical as a decision maker (note: as a young man he appeared to have European and democratic values… that is no longer the case). I am sure had George Soros known what is going to happen, his scholarship fund would not have supported Orbán’s Oxford studies. Orbán should have been an average football player or university professor we never heard of. Orbán today as a #1 politician is a dangerous product of his environment. Remember, he was the symbol of democratic hope 25 years ago! Apparently, he is not a man of core vales, he is rather a role player. He kind of thinks the country is his estate now. He is now simply playing in another film that suits him according to his own self image. He is a confused cell placed into the wrong bodily tissue and does not know its true and constructive role. This is why Orbán is a cancer cell, his entourage is cancer, and his (untreated) politics is becoming a malignant ideological tumor actively spreading in the EU. In the right tissue he would be a relatively normal and harmless cell. (I will explain this idea in a bit more detail later.) It is important to state: Most people aren’t born to be evil. Only a small percent are born with criminal tendencies. Most people who become criminals or dictators, are growing up with the wrong values and experience distorting events. As with the Dunning and Kruger effect, notice how most maladaptive behaviors have to do with the wrong kind of learning, with trauma, distorted perceptions, fluid and circumstantial morals, lack of objective feedback or the lack of knowledge and insight. This is the road that takes someone from active, inclusive, constructive idealism (humanism) to reactive, exclusive, destructive skepticism (dictatorship) along the full spectrum of human attitudes and perceptions of social realities.

Idealism, realism and skepticism

I have been thinking in writing for a couple of days about idealism, realism and skepticism. Before I share my spontaneous reflections, let me say that I am what I call “an active, inclusive, constructive humanistic idealist”, and at the same time I like to take ideas apart, and put them back together with other, seemingly irrelevant ideas (so in my case “constructive” has a double meaning). It is like playing with idea Lego. Also, it is important to mention that I have never been the member of any political party ever and I am completely without illusions when it comes to party politics.

I share the humanistic values of people like Daphne Koller, Buckminster Fuller and Nikola Tesla. Constructive, visionary leaders with positive attitudes are the true architects of humanity’s future, but it is the collective sum of our best actions, hopes, ideals and ideas that lead to the future we will experience. Nobody in their right mind wants to live in a dark and hopeless, dystopian future. 100% basic realism is for selfish opportunists, for lazy conformists, or for misled people without any imagination. People who hate idealism have the darkest souls and wish for an equally dark future. Their souls are simply broken. (I am not one of them.) Basic, destructive and skeptical realism is for servants of the status quo. This is Orbán’s realm today.

Constructive idealism is for true change makers working with ideas that might look utopian and impossible to the conformist, less imaginative, less creative and less enlightened members of societies. Being an idealist means that you have ideas, ideals, values, aspirations, feelings, intuitions, mental images of a positive and inclusive future that you wish were your reality. When putting your constructive ideas and ideals out there in writing, saying no to personal circumstances that are destroying your positive experiences in life, and opting for actions that open the door to new, more ideal circumstances for you and others: you become an active, constructive idealist in this process. Our minds together create our reality in the future. Be mindful of what you wish for in a dynamic human network of ideas!

The success of your active and constructive idealism does not only depend on you. We live in human networks and ideas are spreading at the speed of light via the internet. The collective level of latent/passive, and active/constructive idealism determines the success of your own idealism.

My new hypothesis

Humanistic, inclusive and constructive idealism in action is the highest and most noble form of futuristic realism in any society.

In my humble opinion, realism is a spectrum, that runs from passive, selfish, misinformed skepticism, to active, informed, complex, constructive and humanistic idealism. Active, constructive and humanistic idealism reminds me of genetics. A constructive idea(l) adds value like a Telomerase … a kind of idea related telomere terminal transferase…. a protein… a reverse transcriptase enzyme. Enlightened idealists produce abstract ideas: catalysts constantly replenishing and extending the information related fibers of the social “fabric”, keeping the social “tissues” healthy and pushing the boundaries of humanity.

When the enlightened and knowledgeable idealists (the most terrifying enemies of rigid, authoritarian and aggressive dictators) are locked up, killed, discouraged, mistreated, unappreciated, economically and politically marginalized, or even forced to leave a country: societies stop improving and begin to age and die, just like humans when Telomeres are no longer replenished by Telomerase enzymes at the end of linear chromosomes. It is a weakened social structure that permits the rise of the dictator in the first place. It is not the rise of the dictator that starts the deterioration. The dictator is the one who will escalate the process.

Dictators are confused cells

Dictators and their immediate human networks are sort of confused cells and cancerous tissues (they want to be bigger, have more and more power, resources and money… often plutocrats in business behave the same way… again, dangerous psychopaths and sociopaths in action… and how many naive people just love them!?). Dictators begin to drain and abuse replenishing-resources of an immune deficient society (or multiple societies) to maintain their own opportunistic and corrupt social “tissues”. When human bodily tissues are not well repaired, or when there is a lack of iron, oxygen or vitamin D, the immune system becomes less efficient, some cells become confused and selfish, tumors grow, angiogenesis and cancer happens. Cells forget their original roles.

Cancer cells can become normal cells again! It’s true!

So, again, cancer happens when a cell forgets its original role, and this “cell dementia” happens because the surrounding tissue is deteriorating. The tissue matrix stops telling the cell what to do. Just like dictators are oblivious to the usually rather obviously bad ends of their dictator peers (the bad judgement is clearly visible right there) and to the bad shape of societies these people torture, cancer cells also don’t care that their selfish behavior is killing the entire organism. Place confused cells into healthy and relevant tissue, and the cells will suddenly remember their original, constructive and healthy roles! Cancer cells become healthy again! I am not making this up, it is true (watch Mina Bissell’s TED talk below). Basically, in rotten social networks the same happens, because the cells (people) don’t get the right information and forget their constructive roles. This is how people become destructive and self serving. This always inevitably leads to some level of collapse of values one way or the other, because the social “tissue” becomes thick, overgrown, rigid and homogeneous in an unhealthy way. The societies that contain them must first die in a way to be able to somehow experience the birth of healthy cells, people, ideals and values. (The operation called “system change” did not help in Hungary. We buried that illusion of change with former President Árpád Göncz recently.)

Here is a scenario that never happens (for a reason):

Unfortunately, in their isolated little bubbles, with their pathological personalities, dictators don’t normally wake up one morning with a new sense of self knowledge and say (I imagine this little sketch written by me, performed by Eddie Izzard on stage): “Oh, I am so sorry, I am a confused “cell”, a dictator person, oh no, and my people, who are dead inside, are not telling me the truth, wow, because I am a narcissistic sociopath with no empathy, oh no… I must do something about this… I will quit being an autocratic jerk and will become a lovely flower and stadium turf seed salesman instead.”

This somehow does not happen. It is how confused and broken these people are. Realistically, questioning their own behavior, or displaying true humility are not part of their repertoire. The stunning part? Everyone would be better off if this could happen, but it can’t. It is based on “social physics”. Yet what often does happen is that such a confused “cell” ends up in a prison cell, when a society’s immune system becomes stronger. It could be ironic that a lawyer becomes a dictator, but actually it isn’t ironic. In fact the legal profession is very popular among sociopaths (and among psychopaths).

The sicker the social tissue, the worse your dictator

Notice: As confused cells are the products of a broken repair system on the “tissue matrix” level, so are dictators products of a broken repair system on the social “tissue matrix” level. Unless you can somehow change the social matrix, you will not see any change in the short term. Orbán is allergic to Syrian refugees and migrants in large numbers because their strong will and determination could actually change the social matrix in Hungary… and he is terrified of that. It is his personal interest to keep things as they are. I personally would welcome Syrians in Hungary (healthy diversity, tolerance and the flow of information leads to prosperity), but I also understand that they would not want to live here. Hungary is mostly an intolerant and backward place (because the social tissue matrix is dysfunctional).

Since Hungary joined the EU, the European Union managed to finance (feed and support) the rise of a social class that is opportunistic, corrupt to the bone, destructive and intolerant (and not just the right, but also most of the left… Gyurcsány avoided becoming the same kind of dictator by falling flat on his political face… he had to learn something from that… of course leaving his office when he failed is also a detail that would never happen to Orbán, because the most important thing for him is power). The problem is, that the social tumors were never completely cut out of this society after the so called system “change”. At the same time the active and constructive humanistic idealists were economically and politically, gradually forced to leave the country after 2004. (Note: I was the only citizen in Hungary at that time who decided to found a pilot project for returning, highly educated Hungarians like me to support social change in this new EU member state. Within a few years the passive-aggressive and corrupt “elite” drained my soul and the entire establishment made me sick, in every sense of the word. One constructive idealist against a monolithic group of destructive, self-serving skeptics. One healthy cell in a sick tissue. There was no healthy way to function in this context. This is why I live and work in internet exile, away from the sick social tissue. I integrated into a global, online context that is much healthier for me. Here I am able to function as a free thinker and blogger. Nobody even attempts to tell me what I can or can not say and I am able to speak my mind freely.) Hungary as a society is dying of a relapse of social cancer, that was (only) believed to be removed over two decades ago. The leadership in power consist of people who are opportunistic, self serving conformists, destructive “realists” without: imagination, inclusive insight, conscience and appropriate knowledge. These people say that women belong into the kitchen, and that women should not participate in politics, because “dirty politics” (made dirty by these sick men in party politics) is “not for the ladies”! The kitchen is for the ladies! And their ladies think it is true! The only policy I appreciate was the banning of smoking in many public spaces. I love that! That is about it… and one bad decision comes after the other.

What is politics anyway?

True politics is about finding a common ground and setting goals in an intelligent, informed way for all members of a society and making responsible decisions about our community budget. Politics today also has to be based on intuitive and well informed futurology. What is happening in most countries today has nothing to do with politics that is in touch with people’s realities and needs. And to return to my original points: healthy and true politics is humanistic, inclusive and constructive idealism in action on a community level… the highest and most noble form of futuristic realism. Without a free and creative group of people at least aiming for a utopian future, modern societies are simply (pardon my French): fucked. I don’t know too many true politicians. The real politicians are well informed, decent, active, constructive, knowledgeable and idealistic civilians (yet pros in their respective fields) who are in touch with their communities and people’s needs and know about sustainable opportunities that their communities need to learn about to live better lives (eg.: Bernadett Szél, Bálint Misetics and Gergely Karácsony are promising examples in Hungary). Remember, healthy tissues tell healthy cells what to do. Even a couple of good people are able to form healthy tissues and networks around a capable human being. (When I set out to start my civic initiative, as a returnee to my native country, it is exactly the healthy social tissue and local network that I did not have.) Healthy social networks provide a healthy environment for people. But it is also important to remember, that at some point, when cells in tissue and people in social networks make a functional comeback, their contributions will make the entire system even healthier and more balanced. This is exactly why citizens are looking for such optimally functioning examples, because around such constructive people often happens to be a healthier social tissue and the possibility for change.

On the party political news you mostly see pseudo politicians (role playing party figures). The real politicians (civilian leaders) are rarely on the news. When they are, it often has to do with the enormous gravity of their idea(l)s in action. This power comes from the synergy of the individual’s vision and the readiness (level) of the networks around him or her, be it a local or a global network. Many amazing idea(l)s fail because the networks are not yet ready enough, not yet soaked by information, knowledge and insight to a certain extent (apathy of the masses in my opinion happens when latent idealism is temporarily frozen due to horrible social circumstances in dying social “tissues”… it means that the juices stopped flowing… interactions are minimal… ideas are not produced). It is often not even the constructive and visible visionary individual who fails. It is often the invisible and intangible network that fails the visionary individual, because members of that society for one reason or other don’t fulfill their right and duty to internalize new and important information and knowledge. Of course dictators love that, it is why the Hungarian state television is unbearable if you are an intelligent global thinker with local insight. It is a bit like being one healthy cell among all the ill ones in unhealthy tissue. Who is going to support you? Nobody! You can only make the change with external support in this case (and post operative rehabilitation will be essential until new values are internalized and institutions change). Unfortunately, it is always the individual who is blamed for the failure, because that is easy. Seeing the big picture requires intelligence, intuition, effort, knowledge, insight, analysis, etc. (Similar cases? For example imagine the talented kid failing because of a bad school. A healthy cell in unhealthy tissue. It is the child who is usually blamed, humiliated or forced to repeat a school year. The child can go to another, much better school where he or she will thrive. Ever been punished for your environment’s failures? It is so common, people don’t even notice.)

In countries like Hungary it was the biggest possible mistake to let the state administer the EU funds. The administration should have been less complicated and funds should have been much more directly available to civil players. Goals should not have been centrally determined, rather local (and real) civil players should have been setting the goals. Because the funds were administered via the government, it is the middle man who benefited (those who were willing to participate in the corrupt games). So, in a way, the EU officials and institutions are guilty of making a huge strategic mistake in this country. And the strategy did not change, so today the EU essentially is financing a new dictator in Hungary, while the social tissues beyond his entourage are drained of nutrients. Giving this corrupt government the same EU financial support in the future is like feeding a cancer patient sugar. An Unconditional Basic Income for all Hungarian citizens would be a healthy, nutrient and fiber rich diet for a survivor.

Sir Ken Robinson says: find your tribe. In addition I say, keep learning to build truly visionary tribes for a better future. Instead of putting all the responsibility on constructive visionary leaders, be mindful of your responsibility as a follower, as part of a network, a tribe, a community and a society, because you are all parts of the tissue matrix of that society. Don’t grow up to be a simple adult. Grow up to be a mindful member of a society. We have different personalities and different opportunities. Think about who you are, what you can do, what you could become, learn as much as you possibly can, and be your best possible self. Don’t be a passive complainer who does not do a thing. Even daydreaming about a better life and getting angry with your boss can lead to a better future for many people, if you speak up.

Remember, dictatorships never last forever because societies are dynamic human systems.

Update: It is February 2017. Apparently some of the social tissue started to show signs of regeneration and some social groups are getting tired, angry and frustrated enough of the situation in Hungary. Perhaps The Momentum Movement could be the group that starts the change we need. The “tissue matrix” (the society) that surrounds “the confused cell” (the autocratic “leader”) is trying to tell the confused individual what to do (and what not to do). Healthy ideals are resurfacing again! Solutions are being offered!

Here is the only acceptable mission for humanity:

Buckminster Fuller's mission



Saphier Regina: Közös és “vad” kalandom Berény Róbert festőművésszel Monaco-ban

a., Remake of Róbert Berény’s Monaco Painting by Regina Saphier 2015 (Freehand Digital Drawing & Freehand Digital Painting) b., 3 Sunflower Street with Cherry Blossoms by Regina Saphier 2015 (Freehand Digital Drawing & Freehand Digital Painting) c., Venice with Lemon Tree by Regina Saphier 2015 (Freehand Digital Painting) d., Monaco Rue des Iris by Regina Saphier 2015 (Freehand Digital Painting) e., Lake Como by Regina Saphier 2015 (Freehand Digital Painting)

a., Berény Róbert Monaco-i háztetőinek digitális szabadkézi rajz és festmény tanulmánya (“digital remake”), Saphier Regina 2015
b., Napraforgó utca 3. cseresznyevirágokkal, Saphier Regina 2015 (szabadkézi rajz és festmény digitális médiumra, saját digitális fotó alapján)
c., Velencei tükörtér citromfával, Saphier Regina 2015 (szabadkézi festmény digitális médiumra, virtuális eszköz: Google Street View)
d., Monaco-i mese, Rue des Iris Saphier Regina 2015 (szabadkézi festmény digitális médiumra, virtuális eszköz: Google Street View)
e., Lake Como Saphier Regina 2015 (szabadkézi festmény digitális médiumra, virtuális eszköz: Google Street View)


Saphier Regina: Közös és “vad” kalandom Berény Róbert festőművésszel Monaco-ban

Pár héttel ezelőtt digitálisan megfestettem a Berény Róbert féle Monaco-i házakat (először készítettem egy remake-et, aztán valami ennél is váratlanabb alkotással leptem meg magam, és ha végigolvasod a szöveget, te is meglepődhetsz). Festeni tanulni támadt kedvem (digitális eszközökkel, egész pontosan egy Samsung Galaxy Note 10.1 Tablet-vel és az ArtRage androidos verziójával). Régen az enyém volt az eredeti festmény és imádtam (műtárgy piaci értelemben nem sokat ért amikor az enyém lett, de láttam, éreztem, hogy nagyon jó kép és szerettem… hosszú ideig a hálószobám falán lógott, és minden nap nézegettem).


Az eredeti Berény és a vászonra nyomott fotó reprodukció.

Az eredeti Berény és a vászonra nyomott fotó reprodukció.


A szívem szakadt meg, de végül eladtam (piaci értelemben a kép az idő múlásával egyre értékesebb lett, miközben a művészi értéke stabil maradt… mert mindig is jó kép volt, csak sajnos a legtöbben vakok ugyebár, maguktól nem látják meg a jó képet és csak divatokat követnek…). Mivel ez volt a kedvencem, a Monaco festményről most egy kiváló minőségű vászonra nyomott fénykép reprodukció van a nappalim falán a régi keretben, hogy az élmény valamilyen formában meglegyen… hogy minden nap láthassam.

Kezdjél vadul festeni!

Amikor pár hete rám tört a digitális festési vágy (teljesen kezdő vagyok), úgy döntöttem, hogy komolyabb kihívás gyanánt először ezt az alkotást festem meg a magam módján és ezt azonnal meg is tettem (2015 júliusának végén). Érdekes, hogy mennyit tanultam ezáltal a fiatal (18 éves) Berény Róbert Fauve (a “Vadak” egyik képviselője) festészetéről és a kép részleteiről. Szeretem a Côte d’Azur és a Belle Époque építészetét, az épületek otthonos formáját, a déli színeket a falakon, az erős napfényben. Ideális környezet, ha az ember festeni tanul. Egyszerűen festői. Úgy döntöttem, digitális neuro Fauve leszek (nem az akadémikus tanulás, hanem az ösztönös, vizuális ráérzés és inspiráló gyakorlás útját választottam, vagyis helyből elkezdtem színes, mozgalmas vagy meditatív képeket festeni), hiszen nem véletlen, hogy Berény Monaco-i házait annyira szeretem. Berény a gazdag érzelmi tér, a személyes, bensőséges aura festője. Ráadásul amikor festményeket böngészek, automatikusan ennek a korszaknak a képei ragadnak meg. A Google Street View-ban bebarangoltam Monaco-t, és ezt a Föld más városaival és tájaival is sokszor megtettem már, az elmúlt évek során. Rájöttem, hogy a Google vizuális szolgáltatásai nemcsak látvány, ingatlan és pl. séta helyszín vadászatra jók, hanem kiváló vizuális inspirációt biztosítanak egy technológia kedvelő és művész hajlamú ember számára. Persze az is sokat segít, hogy beutaztam a világot és pl. hónapokat töltöttem a Côte d’Azur-ön a húszas éveim közepén.

Ha már erre járok… megkeresem… és meg is találom!

Tehát, mint feljebb írtam, nagy élvezettel megrajzoltam és megfestettem Berény Monaco-i házait a magam kezdő módján. Kicsivel később, 2015 augusztus 15-16-án lefestettem a Monaco-i Rue des Iris-t (csak hétvégenként festek) és augusztus 18-án kitettem a fabeookon egy pár ismerősnek (“mesés vadasan”… szeretem, hogy a képeim mese illusztrációkra emlékeztetnek… fejben hatalmasnak látom őket…).

Gondoltam, ha már “erre járok”, megkeresem, hogy Berény hol festette a Monaco-i házakat. Szeretem az ilyen detektív élményeket. A pontosításhoz a Google keresőt, illetve a Google Maps, Earth és Street View ingyenes szolgáltatásait használtam. Berény életmódja, a festményen lévő épületek, és a város struktúrája alapján a Port Hercule közelében keresgéltem és mint már annyiszor, megvalósítottam a lehetetlent: mint a villám, megtaláltam a konkrét háztetőket, és az épületeket! Megvan, megvan, megvan! – kiáltoztam hangosan és boldog voltam! 🙂 Nagyon nehéz volt megállni, hogy addig ne meséljem el senkinek, míg Szeptember elején meg nem jelentettem a történetet itt a blogomon (angolul és magyarul). Nem akartam elaprózni az élményt.

Mindjárt elmesélem a részleteket, de előbb teszek egy rövid kitérőt, hogy helyek és emberek sikeres felkutatásáról és a vizuális térérzékelési képességről beszéljek (hogy ez a Monaco-i eset ne árválkodjon itt önmagában, mintha ez lenne az első… mert nem ez az első).


Volt már rá példa, hogy 50 éve Magyarországról eltűnt embert találtam meg Kanadában, pedig időközben több nevet is használt (nem béreltem fel senkit, magam végeztem a kutatást). Pechjére azzal a képességgel kerestem, amivel ő el akart tűnni… Előtte egy 80 éve Ausztriából világgá ment másik embert is megtaláltam Amerikában… mindkettővel találkoztam is később, Toronto-ban és San Francisco-ban (de ez egy mellékszál… valamikor a kilencvenes évek végéről, a kétezres évek legelejéről… most nem megyek bele a részletekbe). Mondom, szeretek nyomozni.


"Le Pin Parasol" avagy Mandula Fenyő Caprin Saphier Regina 2015 szabadkézi rajz és festmény, digitális médium, Pinterest-en talált fotó alapján

“Le Pin Parasol” avagy “Mandula Fenyő Caprin” Saphier Regina 2015 (szabadkézi rajz és festmény digitális médiumra, Pinterest-en talált fotó alapján)

Pár napja egy Mandula Fenyőt festettem meg, és a Pinterest fotó alapján csak annyit tudtam, hogy Capri-n van valahol… 5 perc Google Earth kutatás után egy az egyben megtaláltam a konkrét fát és látványt. Ez egy adottság, amit jó ideje fejlesztek. Anno, amikor lakást kerestem, az ingatlanosok rémálma voltam, mert minimális vizuális mintázat alapján képes vagyok megtalálni a hirdetett ingatlanokat… és nem csupán Budapesten. (Ha nem találod a Mandula Fenyőt és az utat Capri-n, akkor itt a megfejtés, csak ki kell jelölnöd a kettőspont utáni részt, de előbb próbáld meg megkeresni a Google Earth segítségével… hidd el, jó játék: Via Krupp)

Mit ér itthon, ha egy nő vizuálisan intelligens? Semmit!

Emlékszem, a kilencvenes évek közepén, a Városmajor utcában (ami ugyebár Berény miatt is releváns), Budán volt egy fejvadász cég és ott írattak velem egy Stanford-Binet intelligencia tesztet, melynek sok vizuális és verbális komponense volt. Órákig ültem egy szobában, és teszt lapokat töltögettem ki. Annyit mondtak, amikor rákérdeztem, hogy “a legmagasabb kategóriába” kerültem a tesztek alapján. Mást nem mondtak. (Azóta sem hallottam róluk. Jellemző. Végtére is kinek kell egy tehetséges nő ebben az országban, aki képzett, átlát a szitán, jó a térlátása, jól kommunikál, szorgalmas, sőt, szinte megszállottja a feladatainak, van belső motivációja és intelligensen gondolkodik…? Felesleges az ilyen luxus! Nem igaz? Arra is emlékszem, hogy merészen kb. 200 000 Ft-os fizetési igényt írtam be… mondom, egy fejvadász cégnél, ahol arra jutottak, hogy meglehetősen intelligens vagyok. Hát hogy is képzeltem én ezt egy kicsinyes és paternalista országban, a húszas éveim közepén, angoltudással és üzleti képzettséggel… na de erről ennyit.)

Térjünk vissza a Monaco-i kalandomhoz Berény Róberttel!

Íme a saját feladványom eredménye: Szerintem a Rue Princesse Antoinette kikötői sarkához közel lévő villák udvari, vagyis északi fekvésű, hátsó homlokzatai láthatók Berény Róbert Monaco-i házakat ábrázoló 1905-ös festményén. A festő a Boulevard Albert 1er 23-as szám alatt lakhatott (vendégeskedhetett) és az épület hátsó teraszán festett egy napfényes téli, egész pontosan decemberi délelőttön (ha jól gyanítom, a terasz a harmadik emeleten van), hacsak le nem fényképezte a látványt, ahogy egyes kortársai tették, mint pl. Pierre Bonnard (megjegyzés: Bonnard hatalmas vásznakat tett a műterme falára és csak a kép elkészültekor vágta körbe az eredményt, hogy ne a vászon mérete határozza meg a képet, hanem a kép tartalma szabja meg a végső vászon méretet… ez azért is érdekes, mert az ArtRage windows-os verziójában a digitális vászon mérete megnövelhető, ha nem elég a tér… a sokkal olcsóbb androidos verzióban nincs ilyen lehetőség).


Automobile Club Monaco - A festő a Boulevard Albert 1er 23-as szám alatt lakhatott (vendégeskedhetett) és az épület hátsó teraszán festhetett egy napfényes téli, egész pontosan decemberi reggelen

Automobile Club Monaco – A festő a Boulevard Albert 1er 23-as szám alatt lakhatott (vendégeskedhetett) és az épület hátsó teraszán festett egy napfényes téli, egész pontosan decemberi délelőttön. (Forrás: Google search)


Rue Princesse Antoinette Monaco-ban - A Berény féle Monaco képen látható villák déli, utcai homlokzatai ma. A festményen az udvari, tehát északi homlokzatok láthatóak.

A Rue Princesse Antoinette Monaco-ban – A Berény féle Monaco képen látható villák déli, utcai homlokzatai ma. A festményen az udvari, tehát északi homlokzatok láthatóak. (Forrás: Google Street View)


A Berény féle inspiráló Monaco-i udvar az űrből. Berajzoltam Berény nézőpontját is, azoknak, akiknek nem a térérzékelés az erőssége. (Kutatás, szöveg, képanyag gyűjtés: Saphier Regina 2015 augusztus)

A Berény féle inspiráló Monaco-i udvar az űrből. Berajzoltam Berény nézőpontját is, azoknak, akiknek nem a térérzékelés az erőssége. Még az üvegtéglák elhelyezkedése is jól kivehetők az űrből. A képet eredetileg angolul tettem közzé, ezért most is ezt a képet használom, az angol szöveggel. (Kutatás, szöveg, képanyag gyűjtés: Saphier Regina 2015 augusztus) (Forrás: Google Earth)



Vizuális Update: "The Secret Garden in Monaco" by Regina Saphier 2015. Szeptember 7., Szabadkézi festmény, digitális médiumon. (Ezt a festményt a helyszín megtalálása után festettem, a Rue Grimaldi felől. Megjelennek rajta: a saját világlátásom, Berény kézjegyei, és a helyszín mai állapota. A szinergia egyfajta mesevilágot nyit meg a szemlélő előtt. Bevallom, meglep, hogy 6 héttel az első festői próbálkozásom után erre vagyok képes, különösen úgy, hogy csak hétvégenként festek.)

Vizuális Update: “The Secret Garden in Monaco” by Regina Saphier 2015. Szeptember 7., nappali verzió, szabadkézi festmény, digitális médiumon. (Ezt a festményt a helyszín megtalálása után festettem, a Rue Grimaldi felől. Megjelennek rajta: a saját világlátásom, Berény kézjegyei, és a helyszín mai állapota egy új szemszögből. A szinergia egyfajta mesevilágot nyit meg a szemlélő előtt. Bevallom, meglep, hogy 6 héttel az első festői próbálkozásom után erre vagyok képes, különösen úgy, hogy csak hétvégenként festek.)


Vizuális Update: "The Secret Garden in Monaco" by Regina Saphier 2015. Szeptember 7., Éjszakai változat, szabadkézi festmény, digitális médiumon.

Vizuális Update: “The Secret Garden in Monaco” by Regina Saphier 2015. Szeptember 7., éjszakai változat, szabadkézi festmény, digitális médiumon. Az éjszakai változatot jobban szeretem, mint a nappali verziót, mert így a látvány álomszerűbb és titokzatosabb.


A Berény képén látható üvegtéglák hasonlóak lehettek 1905-ben.

A Berény képén látható üvegtéglák hasonlóak lehettek 1905-ben. (Figyelem! Ez NEM az az üveg tető, csak hasonló!) (Forrás: Google search)

A Rue Grimaldi felől látszik, hogy az udvar még ma is jellegzetesen zsúfolt és szabálytalan, az épületek itt-ott egymásra torlódnak (van, amit azóta valamennyire átépítettek és mindent többször átfestettek, illetve meglehet, hogy Berény némiképp érzelmi alapon határozta meg az épületek viszonyát, az arányokat és a színeket… de az eredmény nagyon élethű, ezt ma is tisztán lehet látni… a lényegi építészeti struktúrák változatlanok). Az űrből készült felvételeken jól látszik a belső udvar struktúrája és tisztán kivehető, hogy Berény 110 évvel ezelőtt milyen látószögből festette meg a villák belső udvarra néző színes falait. A látvány valamennyire megváltozott, de a hangulat éppen olyan álmatag (ma talán egy kicsit letisztultabb, polgáribb, sőt sterilebb)… az épületek karaktere ma is a Boldog Békeidők századfordulós hangulatát idézi. Csodás, hogy a festményen balra látható üvegtégla/üvegtető részlet is megvan (a fenti üvegtégla kép csak illusztráció, nem a Berény féle épületben van).

A világot virtuálisan is felfedezheted!

Oda sem kell menni, hogy az ember megtalálja, elemezze és bemutassa egy kép eredeti témáját (vagy hogy megfesse), pl. egy festmény külső helyszínét (vagy hogy új festményt fessen egyéb nézőpontokból). Amikor már láttam, hogy hol van a konkrét háztömb, körbejártam a blokkot és a címek alapján fényképes lakás hirdetéseket kerestem a Google-ben, illetve olyan rések után kutattam az épületek között, melyeken át be lehet látni a házak közötti udvarba. Több fotót és egy meglehetősen széles rést is találtam két épület (a Rue Grimaldi 44. és 42.) között, melyen át látszik az udvar.

Berény vizuális inspirációjának egy kis szeglete Anthony Burgess régi lakásából is látható (a Rue Grimaldi 44-es számú ház legfelső emeletéről). Döbbenetes, hogy miközben Pasaréten egy 60 nm-es lakás 30 millió Ft körül van, addig egy ugyanekkora lakás a Berény féle környéken, Monaco-ban ma 500 millió Ft körüli áron eladó… És ezt akkor sem engedheti meg magának az ember kis hazánkban, ha a legjobbaktól tanul festeni, amilyen Berény Róbert (aki 1905-ben már egy éve tanult festeni). Szerencsére élvezetes kalandokban online is részünk lehet, ha megvan hozzá a képességünk, a fantáziánk és a türelmünk.


A Monaco-i Berény féle udvar belső a Rue Grimaldi 44. felől

A Monaco-i Berény féle udvar belső a Rue Grimaldi 44. és 42. felől… a festményen látható épület a fekete (és a kevésbé látható kék) télikabáttal ma sárga és nem piros… (Forrás: Google Street View)


Monaco - a Berény féle udvar belső a Rue Grimaldi 44. felől... régebbi fotó... a sárga épület pár éve még barackszínű volt...

Monaco – a Berény féle udvar belső a Rue Grimaldi 44. és 42. felől… egy régebbi fotó… a sárga épület pár éve még barackszínű volt… (Forrás: Google search)


Berény Monaco-i udvara Anthony Burgess régi lakásából is látható a Rue Grimaldi 44. legfelső emeletéről. Burgess anno megvette mindkét emeleti lakást és összenyitotta őket. Ilyen csodás helyeken laknak a disztopikus jövőképeket vizionáló művészek...

Berény Monaco-i udvara Anthony Burgess régi lakásából is látható a Rue Grimaldi 44. legfelső emeletéről. Burgess anno megvette mindkét emeleti lakást és összenyitotta őket. Ilyen csodás helyeken laknak a disztopikus  jövőképeket vizionáló művészek… Berény udvara és házai a jobboldali ablakon át láthatók (minimális mértékben). (Forrás: Google search)


Berény Monaco-ja és az ablak részlet a fekete és a kék télikabáttal - Saphier Regina okos-telefon fotó 2015

Berény Monaco-ja és az ablak részlet a fekete és a kék télikabáttal  – Saphier Regina okos-telefon fotó 2015


Úgy gondolom, hogy művészettörténeti szempontból izgalmas és komoly felfedezést tettem. Angolul már korábban megírtam ezt a történetet, egy sokkal komplexebb és hosszabb esszé részeként, melyben olyan témákat feszegetek 8000 szóban, mint: “az eredeti” szubjektív fogalma régen és ma, a digitális és a tradicionális festészet eredetisége, a művészi és a piaci érték, a “virtuálisan inspirált” digitális szabadkézi rajz és festészet (amit magamnak találtam ki), a zsigeri önképzés a digitális festészetben, illetve a felnövő és feljövő “digitális bennszülöttek” és a lassan elsorvadó és kihaló “digitális bevándorlók” közötti fokozatos hatalomváltás (én ma valahol a két világ között létezem).

Szívesen írtam meg ezt a történetet magyarul, de a sokkal komplexebb angol verzió, melynek megírása egy teljes hetet vett igénybe, sokkal nagyobb élmény volt (na jó, több is volt az, mint egy hét, csak én itt egyfajta különös időtlen zen állapotban létezem és ez egy meglehetősen összetett történet). A végén egyenesen euforikus állapotba kerültem, ami akkor történik meg velem, amikor a legjobb szövegeimet írom, flow állapotban. Ezt az esszét is egy merő kedvtelésből írtam, ahogy az összeset. Ha tetszett, add tovább… like, share, comment… Köszönöm, hogy elolvastad! Remélem, hogy sikerült egy emlékezetes élménnyel gazdagítanom az életedet.


Ha az izgalmas (angolul és magyarul is megírt) történetem nem lenne elég, mely szerint megleltem (régi tulajdonom) Berény Róbert (a magyar Vadak képviselője) “Monaco-i Háztetők” című festményének Monaco-i helyszínét, nos bármikor tudom fokozni az izgalmakat!

Barki Gergely, az első számú Berény szakértő, ugyanakkor volt Monaco-ban, mint amikor én is ott nyomoztam, de nem tudtunk egymásról! Én Berény hatására éppen arrafelé festegettem a Google Earth és Street View segítségével és nyomoztam, hogy hol lehet az udvar. Gergely (nagyon helyes családja kíséretében) egy nemrég előkerült festmény kapcsán nyomozott (melyet a fiatal Berény a Monaco-i kikötőben festett, akkoriban, amikor a Monaco-i háztetőket is festette), és kereste az udvart.

Mint kiderült, 15 éve (a korábbi otthonomban, ahol a Monaco-i háztetők megtekinthetőek voltak) mi már találkoztunk. Gergely nem hitt a szemének, amikor hazatérése után véletlenül ráakadt a blogomra (egy Google keresés során) és benne az udvar fotóira, az űrfelvételre, és a történetemre. Azt írta, hogy ő is lefotózta az udvart, de csak akkor volt 1000%-ig biztos benne, hogy a megfelelő udvart lelte meg, amikor elolvasta a blogomat.

Boldog vagyok, hogy ez a történet egyre jobb lesz! Gergely ma (2015. Szeptember 21-én) tartott egy előadást a Virág Judit Galéria sajtótájékoztatója során, és prezentációjában kitért a blogomra is. Annyira lelkes volt, mintha mi ketten rokonok lennénk, és ez nekem nagyon jólesett! Jó érzés olyan emberrel levelezni, akinek hasonló élménye volt, és aki képes értékelni az eredményeimet. Ha lenne vér szerinti testvérem, jó lenne, ha ilyen lelkes ember lenne!


Régi fotók a Berény féle Monaco-i környékről:

Monaco anno Rue Grimaldi

Monaco anno… Rue Grimaldi… a kikötő közelében… (Forrás: Google search)


Monaco anno Rue Grimaldi

Monaco anno Rue Grimaldi (Forrás: Google search)


Végül a kerület manapság:

La Condamine Monaco (2010-ben)

La Condamine, Monaco (2010-ben) (Forrás: Google search)


Monaco Hafen

A Monaco-i kikötő 2014-ben (Forrás: Google search)

Regina Saphier: Unique Digital Art Experience in Painting

Van Gogh: The Starry Night... I added a few magnified and magnificent brush strokes to the picture... click the image and go to the link to zoom and have fun! (image source:

Van Gogh: The Starry Night… I added a few magnified and magnificent brush strokes to the picture… click the image and go to the link to zoom and have fun! (Image source:


Regina Saphier: Unique Digital Art Experience in Painting

Above: Vincent van Gogh: The Starry Night (1889) … I added his brush stroke details at the top and bottom of his painting. Notice the 3D appearance of the pigment. Some segments are even chipped… these details are beautiful and yet not observable by the naked eye… We need digital technology to show them online… I love to look at these details on the Google Cultural Institute’s Art Project page… click the image to be able to zoom into this beautiful painting and explore the texture. You can hardly expect any museum to let you touch a Van Gogh and look at it with a magnifying glass from up close.

This essay is about digital paintings, “classical” paintings, about the outdated, power and oppression based, elitist terminology of “uniqueness” and the elusive concept of “the original”… about what is “authentic” and what isn’t on the art market… about ever changing values, perceptions and the subjectivity of “market value”… about the best for a few, or the excellent for everyone… about the definitely original and the possibly original selling for the same amount on the global market… about Google Earth and Street View as artistic inspirations and amazingly as tools of an art historical discovery that I made during the process!

What matters is not the medium, not the surface… rather, it is the neural experience of the creator and the observer… The key is the merging and the synergy of experiences.

What is original? Artistic versus market value.

In my humble opinion, art “happens” between the brains of the creator and the observer, more specifically, between their brains, neural networks, synapses, neurons, the physical features of photons and the surface of the medium. The medium of representation or creation itself is marginal when it comes to artistic quality. According to David Hockney (one of the most important contemporary artists today), it is “the hand” that matters. I say, it is the personal neurology that matters.  I think we are talking about the same thing, I am just a bit more scientific. And that personal neurology is what makes something original to the owner today (not the canvas and not the oil). However, the untrained (and sometimes even the highly trained) observer is easily fooled by skilled forgers and so it is really hard to say what it means to have the original. It appears that believing that something is original satisfies most people. So, it is the belief that matters.

Estimating the market value of art is a completely different problem. Or is it? It is not about how artistic something is, not about the fingerprints of the specific artist’s hands (it is not about the artist’s hair in the oil on the canvas), not about how original it is as the result or product of a creative process (from a qualitative point of view). The financial or market value depends on the joint narrative, the PR of the seller and the psychology of the buyer.

An original oil on canvas Van Gogh on the museum wall shows less of the artist’s “fingerprints” (or hair for that matter), than a HD digital photo that permits unbelievable zooming into the artist’s brush strokes. I am sure Van Gogh would love to try digital painting after seeing his own brush strokes digitally magnified. He would see how brilliantly expressive it is. Also, many of his paintings would still be visible instead of being under another painting because he had no money for a new canvas. I would rather have more Van Gogh paintings, even if digital! Again, it is not the medium, it is the neural and visceral experience that matters!

So, we have belief and narrative behind the artistic and the market value. Both are phenomenally subjective. Humans are able to form beliefs, values and narratives in relation to digital art and anything else in life. It is how we function. Both traditional and digital art depend on acquired preferences and value systems. In the age of Bitcoin you can easily attach market value to digital art. In the digital age you don’t necessarily have to own the “one and only” original.


Originality in music, literature and cinema

Think of music

If you want to think about the incomprehensibility of the term “original”, think of classical music, think of Bach and the Goldberg Variations (a variations based composition that Glenn Gould recorded twice, both before and after he stopped playing to a live audience… he stopped because of his fear of airplanes and hatred for his audience… the youngish version was recorded in 1955… next he stopped flying in 1962 and recorded the old version in 1981 in a state of the art studio, just a year before his death). You can obviously not have Bach in your living room to play for you. You would need Glenn Gould to come and play if he were alive, but he is as dead as Bach at this point. Plus, in the end even a Glenn Gould concert was hard to find… even when he was still alive.

With visual art, next to having Van Gogh sit in your garden painting your almond tree (impossible), the next best thing today is owning his original Almond Blossom painting (also impossible) he created for his brother’s bedroom when his child was born, a few months before Van Gogh died.

In music, what is original? Bach playing his own composition for you directly? Not possible. Glenn Gould playing his own youngish interpretation of Bach in a concert hall? Young Glenn Gould’s impetuous studio version? His meditative version he recorded as an old man? Or is the original the music scores noted by Bach’s hand on paper? And how do you define originality when you purchase the Goldberg Variations by any artist as a file? (I always preferred listening to classical music alone with my eyes closed, to sitting in a concert hall in bright light on an uncomfortable chair with strangers I never wished to see… except of course that unique Sviatoslav Richter concert in Graz, Austria two decades ago… he played in a darkened room at night and only a candle was burning on the piano… that was all the light during the concert… I loved the experience!)

While I developed this essay, when I reached the idea of music, I opted for Glenn Gould as an example instinctively. And suddenly I found that he actually also contemplated musical and any kind of artistic originality and authenticity, precisely because he basically became the technical director of his studio recordings after he discontinued his concert pianist career. Interesting to find that he also came to the conclusion that there is a “pathetic duplicity” when people go from hysterically celebrating a painting as original to hysterically hating it once it is scientifically shown to be a forgery. I agree with him. While I dislike deception, aren’t overpriced art, luxury product marketing and romantic love all based on (self) deception?

Think of literature and cinema

What is original and unique? Take Ingmar Bergman’s “Scenes From a Marriage”. Is his script “the original” that he wrote within a few months? His miniseries that he directed? The book that contains his story? The stage adaptations? Initially, all people had in the past was the story teller, and later the theater with people on the stage. Next, as more and more people could read, there was the book. In the modern days the movie theater was invented. With the book and the cinema the story teller and the actor did not have to be present in real time. Today you don’t have to be present in the movie theater, you don’t even need to watch television, you can listen to an audio book, read on your kindle and watch films from files at home. What is original and unique? In every case it is your personal experience that is unique, as you lose yourself in the artist’s projected experience. The medium does not dominate your experience, even if reading a book, listening to a reader, or watching a film are different types of experiences. Independent of the medium there will always be your very personal experience.

Is something original if you have to pay for it (a little or a lot), or is it still original when you get it for free in an era of unconditional basic income in the future? Keep thinking: What is really original in an endless universe? Just how original is Earth itself in a Galaxy of hundreds of billions of stars, in the Visible Universe of at least a hundred billion other galaxies?


Power and leadership in the digital age

Originality and authenticity are outdated social constructs of a snobbish and power hungry elite who are also digital immigrants and often technophobes. The digital natives only nowadays begin to have a voice.

Here are the words that represent and describe the old and fading concepts of originality and uniqueness in my opinion (in art market terms of paintings these are not about talent, nor about personal creativity): money or funds (financial value, financial agreement based on an object that was created only once by someone well known and celebrated), status quo, elitism, common belief, (artificially created) scarcity, narrative (real or manipulated), PR (always manipulated), subjectivity, impressionability (lack of knowledge), self deception, perception, attitudes, the illusion of objectivity, illusion in general, changeable social and personal values, social and individual psychology (the need to fit in and/or build an identity), acquired preferences (based on own networks), oppression, exploitation, despotism, wealth, egotism, selfishness, questionable power and influence, competition and success of the few at the expense of the many, emotions and ever changing culture(s). This is where we are coming from.

As the digital natives with new, enlightened and timely values become leaders, these words and concepts will hopefully begin to fade during the next couple of decades.


The equal market value of the “definitely” original and the “probably” original

Let me give you a completely contemporary and fresh example how passing time, changing values, skillful PR, impressionability, acquired preferences, egotism and scarcity create inflated market “value” and also increase artistic “value” perception. It could be any artist, so the names in the story are not important. My goal isn’t gossiping, my goal is to be able to give you a raw example.

The artist was born in Hungary, yet she is regarded as one of the most important Indian painters (her mother was Jewish Hungarian, while her father was Punjabi Sikh). She died young in India (she was only 28) and most of her paintings are either in museums or in family collections. Most of her paintings are in India. Few of her paintings are in Europe, but these are in much better condition, due to the climate. For decades her art did not have much global market value (her highest prices a few times were around a few hundred thousand dollars), until an ambitious, talented and middle aged Hungarian gallery owner decided to acquire her well documented self portrait from a Hungarian family member (the old man, who as a little boy knew the artist, took care of the painting for decades, and this ensures authenticity… this historic detail adds value). The gallery owner took the painting to Sotheby’s and set down with a dedicated professional team. The networking started and a well crafted PR story unfolded targeting rich Indian men…

The created narrative was that here is this phenomenally talented and sexy, pretty young thing with her red lips and beautiful gaze who died in her prime after having studied in Paris, and just before she could reach her artistic peak in India. The narrative worked, the painting was sold for nearly 3 million USD in New York in 2015, surprising even the extremely ambitious seller and the highly experienced team (and also angering the son of the old family member who sold it to the Hungarian gallery owner). And the power game begins, behind the scenes for now… to the point of the gallery owner supposedly trying to suppress articles on the internet regarding the record sale! (Just how much of an ignorant and egotistic despot are you… man…?) And to the point of the original owner’s family supposedly taking legal action against the gallery owner. How lovely! It is morally puzzling to me why the gallery owner did not offer a joint sale of the painting in the first place. It is also unclear to me why the original owner did not go to Sotheby’s directly… (I mean, he is fluent in English.) Just why do I have this uneasy feeling that this story is based on exploitation, even if in local terms the original owner probably received a nice amount of money…?

This is what happens when the market value of something is artificially and suddenly inflated. This has nothing to do with artistic value. This story of “value creation” unfolded without the knowledge of the supposed global “authority” of this particular lady artist’s work in India, a family member, who has never met her in person. He was stunned when he got the news. An old, mediocre artist, who is basically recycling his aunt’s art… So, when suddenly the aunt’s self portrait was sold for millions of dollars in the US without his knowledge and without his “royal” assent, he found himself insignificant (despite his many inherited paintings by his aunt suddenly having a record market value… his inherited collection in India was suddenly at least six times more valuable, because of this one sale in New York that he did not even know about).

Next thing you know, another self-portrait by her, out of nowhere in France pops up and now the old Indian relative is asked for approval before the Christie’s auction in London (probably via e-mail). To the best of my knowledge (and rest assured, I have not read this complex story anywhere, rather I harvested information from my network) he simply looked at a photo of the newly discovered and completely undocumented self-portrait (it wasn’t published anywhere and nobody knew it existed) and gave his immediate validation that it is definitely original. Just like that. Long distance. Almost like a clairvoyant. WOW! This, and only this nuance made the major sale possible in this case! He has not known about the painting beforehand, he did not hold it in his hands, he also isn’t an art historian, neither does he occupy himself with the chemical laboratory analysis of the pigments or the review of X-Ray imaging results of the deeper layers of the painting. In the golden age of technology, he simply looks at a photo and “knows”. Yeah, “right”…! And the painting that was not even documented in this so called connoisseur’s detailed and heavily illustrated book about his aunt (full of her letters and paintings, and her narcissistic father’s photos), was sold for over 2.5 million USD in London in 2015.

Without the sudden and rather superficially issued consent by the Indian relative, because this painting was latent until recently (unlike the other, well documented and well known painting sold by Sotheby’s in New York), nobody could have sold it in a major auction in London at Christie’s. Her market value was absolutely expected to go up, but not as suddenly and not as high as this. But now her art is at the top of the female Indian painters’ market value short list (within a few months), based on two early self portraits sold in the US and in the UK. The definitely original and the probably original sold for almost the same amount, there were only two hundred thousand dollars between the two final bids. Imagine when the old owners of her paintings begin to pass away in Europe or when some of her more mature work hits the market in India (her paintings can not be taken out of India, so once you take her art from Europe or from the US to India, that is it, it stays there).

Here is the extra grotesque part!

There is a heavily researched painting in Hungary that was acknowledged to be her painting by many experts and even a family member. The painting was exhibited in one of the major museums in Hungary. All sorts of tests were done, including X-Rays, different types of photographs (ultra violet light, infra red light, high definition, etc.), pigment analysis and so on. Yet, it cannot be sold at any auction in New York or London, because get this: based on photos alone (!) the Indian family member decided years ago that it is not his aunt’s work. Again, just by looking at photos. He never examined the painting itself and never explored the research material. But even if he were to examine it in person, he admits that he is not an expert. He does not issue an expert’s statement, no matter what. Yet, a multi million dollar sale depends on his superficial and subjective opinion. Is this what should determine what is original or unique today? Definitely not! Yet it is what is happening.


Technophilia and Technophobia

Technophilia (from Greek τέχνη – technē, “art, skill, craft” and φίλος – philos, “beloved, dear, friend”) refers generally to a strong enthusiasm for technology, especially new technologies such as personal computers, the Internet, mobile phones and home cinema.” (wikipedia)

Technophobia (from Greek τέχνη technē, “art, skill, craft” and φόβος phobos, “fear”) is the fear or dislike of advanced technology or complex devices, especially computers.” (wikipedia)

Technology is constantly evolving while the human intellectual and aesthetic evolution appears to be slower. Most people lack the intellectual independence to make up their minds about something new (and also about most of the old as well). People seek out opinion leaders (not necessarily true and reliable experts) to know what is original, what is valuable, what is authentic. That is rather sad but true. Most people aren’t independent thinkers, yet many assume an individualistic pose.

Anything can be artistic or original (if you like). If you have an oil on canvas Hockney, a montage Hockney, or a digital painting of Hockney, all of them were created by his hand, his brain, his neurology. And in each and every case the medium is also part of the end result (but only one part… it is not the key aspect of the artistic value and should not be a key aspect of the market value either in the twenty first digital century). Emotionally the impact will be the same if you have the right values and a high quality product. It is the values, the psychology, the narrative and the quality that matter, not the medium. You will see and feel what he wanted you to see and feel… a UK landscape in LA’s bright light for example… no matter what the medium is, if the product comes with a high quality.

Today, a digital painting’s market value, for example a monumental digital Hockney’s (even if it is made of smaller parts), might be determined by the fact that he has decades of contemporary success behind him, that he was invited by the Royal Academy of Art in 2012 to display his digital paintings and that each monumental digital painting was printed only once, so only one exists or only a limited number of them exist (depending on the agreement). It does not matter if it was painted on canvas, paper or on an Apple iPad or on a Samsung Galaxy Tablet Note 10.1 or a Note Pro 12.2, or perhaps on a jaw dropping Wacom Cintiq 27QHD Creative Pen and Touch Display for 2800 USD… plus 400 USD for the Ergo stand and 100 USD for a more capable Wacom pen… all together my dream tool is approximately: 3300 USD… I think that is without software… (note: software for android devices is much cheaper than for windows or apple products).


A demo of how the Wacom Cintiq 27QHD is used in animation:


Digital artists, who come after Hockney, don’t have to walk the same path, because he represents the transition from traditional contemporary art to the digital contemporary realm. The fact is, anyone could reach some level of artistic value. However, if you have some sort of classical visual culture (you don’t have to be academically educated, it is sufficient if you were surrounded by classical art or if you trained yourself visually), a person might be able to create much stronger and intellectually much more stimulating digital paintings, compared to those who were only exposed to the “aesthetics” of online games (note: there are very few aesthetically excellent online games). On top of this, the artistic and market value also depends on the cultured and/or sensitive audience or observer, again, a highly subjective component in the values game. Some are receptive, some aren’t. Some people are in touch with their latent inner artist, existing somewhere deep down, and some are completely out of touch with their creative emotional selves.

It is puzzling that most contemporary artists are technophobes…


Uniqueness in the digital age

In the digital age, when humanity attempts to make the most possible quality items available to the most possible people (like the cheap, yet excellent ArtRage software for android is a celebration of the long tail economy, while the Samsung Galaxy Note 10.1 or Note Pro 12.2 Tablets are also excellent), “uniqueness” becomes a highly questionable term.

Uniqueness in economic and market terms (not in artistic terms) speaks about the assumed needs of the elite, about privilege, power, money, wealth, or in other words about inequality, the oppression, exploitation, enslavement, dependency and suffering of the masses. (However, today people are learning at a rate like never before, so change might be on the horizon.) The rich buys “the one and only” at the expense of the poor. Something that is unique is a beautiful thing from one point of view and a very dirty one from another. Holding onto the shockingly expensive and to the traditionally unique represents an attachment to the despotism of an outdated and unenlightened era. A rich person is not better, nor more deserving than a poor person. An artist using oil and canvas is not a better artist than one using digital tools to paint and provoke some sort of emotional impact.

Hockney did not come from a privileged background. For a long time, among many things, he used oil. Today in his seventies as a famous and well to do artist he is also creating digital art. He is still undoubtedly creating Hockney paintings. The old medium does not dominate the artistic value, so it should not dominate the market value either. Of course the most sophisticated forgers are able to show people that even the artist is obsolete, when someone makes a skilled copy and nobody notices (only an Artificial Intelligence tool will be able to distinguish the original from the fake after a while). I know that “cultured” people are attracted to owning the original, but I don’t think that this is an inborn and necessary feature of humans. This is something we learn. So, this is also something that we can unlearn or reform.

Apparently it is the experience that matters. The artistic experience is formed in the observer, in his or her neural network, based on the available information (based on learning and feeling). How immense this artistic experience is depends strongly on the narrative. Art is a mental and social experience, embedded into an ever evolving narrative.


David Hockney talking about his digital art

About my digital art

I suddenly and only very recently started to learn the art of digital painting. By the end of July of 2015 my most amazing dog-sister passed away and my hunger for emotional expression resulted in sudden bursts of artistic activities. I finally gave in and accepted my best friend’s suggestion that digital painting was invented for me. He kindly lent me his Samsung Galaxy Note 10.1 Tablet and introduced me to ArtRage, a phenomenal digital painting software. Practicing graphic art is a new phenomenon in my life. Finding flow beyond blog writing to forget about loss… Turning pain into digital paintings to definitely see the beauty of life.

Two weeks after my brilliant dog’s sudden death I posted my first “presentable” digital painting (my third digital painting ever) on my facebook wall to a select few friends. It was a freehand digital drawing and painting based on my spring time smart phone photo of a nearby salmon pink Bauhaus building (note: there will be a composite image of my learning process later in this blog text).

Apparently it is a general practice today to paint from digital photos. In fact I just read a few days ago that hundred years ago Pierre Bonnard took photos of his family home and went to his art studio to work where several canvases were stretched on the walls (not on regular stretchers). This is how he created his uniquely intimate paintings. He also did not determine the size of his painting until it was completed (note: in the windows version of ArtRage one is able to enlarge the canvas if necessary).

You can look up and observe the old, but renovated Bauhaus building that I painted (find it on Google Street View if you like). It is 3 Napraforgó Street in Budapest’s second district (Napraforgó means Sunflower), very close to my home (I like to walk there, the entire street is part of a special housing project from better times in this country… it feels a bit like it wasn’t even in Hungary, rather somewhere in the UK… you almost expect a character like Belgian detective Hercule Poirot to appear). On my digital painting I intentionally made it look like the building was located somewhere on France’s Mediterranean coastline, because I used to own a Róbert Berény painting that he created at age 18 in Monaco at the very beginning of the twentieth century. I loved it. I always fantasized about one day painting rooftops for example. In fact “my art rage” started five days after the emotional trauma with my attempt to draw a “tree still life” on a tablet (to see how it works) and next (two additional days later, on July 27 of 2015) I attempted to recreate the atmosphere of my long sold work of art by Berény (an oil on cardboard) that used to hang in my bedroom in my former apartment. (Note: see the composite image of my learning process below.)

Frankly, after I had a professional photo reproduction on my wall for years, I don’t feel any real difference. Initially, it was painful having to sell the original, but I was happy to hang a high quality photo reproduction on my wall in the original frame. It is the emotional composition, the sight, the style, and the colorfulness that I like. I simply don’t care anymore that it is not “the original”. It is still unusual that I own a large and high quality photo reproduction like this one right here on the wall (I am sure, I am the only one with this experience). It is even more meaningful to me that I created a remake of the 1905 painting, because I discovered new details on the painting itself (there is not only a black winter coat, but there is also part of a blue winter coat visible in that same window). And not only that! I even discovered on my own where the painting was created in Monaco and I created my own rendering of the same courtyard as seen from another point of view! This is new information that could enrich our knowledge of Berény and his art. I will tell you the story (in words and in pictures) later in this blog post… Wait for it and read on to better understand what I am doing!

My evolving artistic self

I think I am approaching my personal style that I feel like calling “Neuro Fauvisme Digital” or “Neuro Digital Fauve Expressionism” or “Digital Neuro Surrealism“. As in my inner city photos, the same way on my digital paintings there are no people (also no animals except a hidden and small female black dog in each and every painting, representing the highest levels of loyalty, independence, curiosity, tolerance, love, devotion, truth and intelligence). I work with high tech to create images that resemble the art that was created over 100 years ago in Europe, because that is what I like. I am looking at Google Street View, walking through cities of Europe, finding landscapes and architectures that speak to me and I depict them manually, yet digitally, as if I walked through old towns and villages during summer siestas in 1904 or 1907. These images are my inner walks. My introspective nature is reflected in them.

Despite the high tech that I am using, there is nothing modern (no modern technology) on my digital paintings. I depict cities, homes and structures that contain human communities, that were created by people. No cars, no motorcycles, no digital displays, no traffic lights, no airplanes, nothing like that. Today, I am painting a pre-digital world, with a digital medium (but this might change as my art evolves… I am going to paint as long as I enjoy it). Until now I didn’t create visual art, because I was uniquely surrounded by hundreds of paintings created by (in large part female) artists who were active before W.W.II. Painting traditionally did not appear to be a particularly unusual or special activity to me. However, painting digitally in a pre-digital style felt fascinating to me. My evolving art is a colorful reminder of the Belle Époque before WW I., just when modern technology started to overwhelm us. I love modern technology (I am a female technophile), but I find my flow in taking a paradoxical break from it and wandering (off) visually, mentally and emotionally in(to) a long lost world. Any decent introvert will understand what I mean.

Look, I know that one can’t paint for 30 years within 3 weeks. I know I am a total beginner. People still like to compare my pictures, atmospheres and motives to paintings by Chirico, Escher, Matisse, Hockney, Berény or Csontváry and the like (interestingly and tellingly: not one female is listed, ever). The thing is, I don’t paint like any of them. I paint like me. No need to copy anyone, beyond obvious learning reasons. Yet, I was definitely shaped by the art that I observed throughout my life. I am just learning to paint (on my own), and see what happens. Stimulating (in)sights… loving life… optimism… yet a melancholic observer, a dreamy outsider… My images carry my contradictions. The traveler who is in one place all the time lately.

I write and paint as if I lived in California or New York in the US. Yet I live, write and paint in Budapest, Hungary, Europe. My subjects are located thousands of kilometers away in eg.: the Mediterranean region of Europe. I absorb, read, write, paint, express and display digitally. When you look at my paintings, imagine them as large printed colorful canvases in a foyer or lobby of a lively, elegant home, hotel, museum or restaurant in San Francisco, or on the wall of a magnificent loft in New York. This is what I have in my mind when I am between two paintings. But much more importantly, when I paint I have nothing “on my mind”. It is exactly why I paint. I like to be lost in space and time. Writing is more of a left brained flow experience, painting is more of a right brained flow state. This is how I find my path, my truth… via a whole brain experience. This is my way of celebrating life. I never party, I don’t use substances, I am not dependent on a defined group of people and their opinions. I do my own things. I am my own person. Yet I am highly connected to the world online.

What is unusual is that I have been doing this sudden artistic activity for a few weeks only… yet, it feels like it has all been waiting there inside of me to suddenly happen. I don’t even have to think about my concept when you ask me. It’s there, even ready to be written, as you can see.

My learning process

It pleases me enormously that I finally have an outlet for my serene self. My blogs are full of pensiveness. Painting balances me and helps me show my true inner range. And in surrealism anything is possible… you can have sunlit nights, with dark sky and bright, colorful walls.

Before I start drawing the sketch, I spend some time looking for my next subject for a few days. I pick sights that give me a particularly good feeling. I select subjects that I suddenly start seeing as a painting.

Three weeks into the self guided learning process this is what I produced:

a., Remake of Róbert Berény's Monaco Painting by Regina Saphier 2015 (Freehand Digital Drawing & Freehand Digital Painting) b., 3 Sunflower Street with Cherry Blossoms by Regina Saphier 2015 (Freehand Digital Drawing & Freehand Digital Painting) c., Venice with Lemon Tree by Regina Saphier 2015 (Freehand Digital Painting) d., Monaco Rue des Iris by Regina Saphier 2015 (Freehand Digital Painting) e., Lake Como by Regina Saphier 2015 (Freehand Digital Painting)

a., Remake of Róbert Berény’s Monaco Painting by Regina Saphier 2015 (Freehand Digital Drawing & Freehand Digital Painting)
b., 3 Sunflower Street with Cherry Blossoms by Regina Saphier 2015 (Freehand Digital Drawing & Freehand Digital Painting)
c., Venice with Lemon Tree by Regina Saphier 2015 (Freehand Digital Painting)
d., Monaco Rue des Iris by Regina Saphier 2015 (Freehand Digital Painting)
e., Lake Como by Regina Saphier 2015 (Freehand Digital Painting)



The first painting I posted on August 2nd of 2015 (the salmon pink Bauhaus building with the cherry tree) took me two days to create (I was still learning the software… had to get used to the digital logic of drawing and painting). The last one that I posted on August 22nd of Lake Como also took me two days. You can see the difference in complexity, yet both took me the same amount of time to create. It is unbelievably cool to experience what one can do within three weeks just by simply wanting to create images, by being dedicated and open minded. It still takes two days to complete a picture, because I am still learning while doing and I want to do well. Each time I wish to create something presentable in the end.

I skipped “the cube drawing phase” of learning (that usually takes months in a regular and formal drawing class… I don’t like boring training sessions… I did the same self-willed skipping while learning English… and yet I am able to write blogs in English about basically anything as you can see), and I do the practicing during the visual creation. I keep drawing the lines, until the “buildings” end up in the right position. I keep searching for the form, the shape, the depth, the perspective. I keep going back and doing it again, until I feel happy with the position and the composition. In a way I almost draw multiple pictures in some areas of the surface, until I end up with the final product that I like to look at, that shows the coherence I was looking for. This is why I call it eg.: “Digital Neuro Surrealism” (note: we all have a typical, personal handwriting, and I believe we all have a typical drawing and painting style that naturally happens while practicing). I don’t walk the academic path, it is dead boring to me.

I walk the neurological, instinctive path. Sometimes my frustration is enormous. I sit there and say: “Why can’t I draw?” or “I can’t draw!”… Because I see that it is wrong… so, I remove the specific area and do it again and again, because I know that I should be able to do it. I know it is possible, I just have to keep doing it. And suddenly I like it and I am happy and proud that I suffered through the frustration and that I persisted. When the sketch is done, I start painting the buildings on another layer (on my “Monaco – Rue des Iris” painting I put everything on the same layer and that is not the best approach with the digital medium… it is a good idea to use the separate layers, but technically it is more complicated… especially in the android version of ArtRage, because there the layers are not constantly visible while working)… and so on. Typically, I am not satisfied until I am done with the painting. There is a point where I feel that it is “ready” and I am happy with it (and I feel that I no longer wish to perfect it). I particularly like red buildings (red will be hard to print well, but I still like it).

During my discovery of the digital art realm I came across David Hockney’s digital paintings and listened to him as he spoke of his initial skepticism… Soon he realized, that this is a very serious and quick tool. I agree! Of course he is lucky that he has helpers dealing with the printing and mounting process. Perhaps one day I am going to print my paintings on canvas and hang them on the walls of my apartment along with other art.

Google Earth and Google Street View as brilliant sources of visual inspiration

Sometimes I point randomly onto an area of Google Maps or on Google Earth and zoom in on the Satellite Image of a particular city or village near a large body of water. I “take a walk” in places that I already have been to in the past, like the Côte d’Azur (I took many photos of the landscapes). When I discover the right place to depict, I walk around in Google Street View to compose my next digital drawing and painting. Luckily, due to my many travels, I have a realistic feeling of many places on Earth. I know how it feels to be there.

What is unique about this process, is that Google Street View is created from an angle that would be humanly and practically impossible to work from. Google Street View cars have a long pole on top carrying complex cameras that take multiple images at once as the car moves along the way. This is how the stream of image bubbles are created around the world. If I wanted to assume that position, I would have to sit on top of a ladder on top of a car and would have to maneuver the car back and forth while also painting, and that in the middle of the road. In my opinion Google Street View is a creative and open minded artist’s best friend. I don’t know if anyone is using it like I do, but it was a natural choice for me.

My digital or virtual self and a possible future

For many years I worked on an all digital writer self… I absorb knowledge digitally and I spread knowledge digitally via my blogs. Now I have another opportunity to be 100% contemporary and digital. I look at Google Street View with my human brain and eyes and I create a digital painting manually, filtering the sight through my personal neural network and neurons. Often, in the middle of the painting there is the road, representing life as a continuum and I take you into a (modern) technology free world that actually does not exist anymore. At this point, my freehand digital paintings look like illustrations in children’s books and I really love that. This is all so unexpected and gives me so much joy (after the sadness of loss of a loved one and beyond the understandable frustration of learning).

For an added texture I might one day attempt to 3D print my freehand digital paintings instead of simply printing them on canvas. If you look closer, ArtRage is able to detect your manual movements, hand pressure, etc., and is offering many tools and settings that give you the ability to create real texture. (One is able to add much more texture, I just opted for lighter touches.)

Painting digitally is more spontaneous, flexible, there is a lot of freedom, it is much more intuitive with all the tools compared to traditional painting. However, when I work with the digital stylus, I never copy or paste, I don’t put photos into the file, I don’t use digital shapes, I make everything possible manually (freehand).

I think what we need to do, is no longer a comparison of traditional painting and digital painting. We are already at the point where we should rather ask questions like: What would you see as original, a manually yet digitally painted painting by a human (printed professionally on real canvas), or an oil on canvas directly but created completely by an artificial intelligence driven robot without zero human intervention?

And at this point I think I just invented the AI navigated robot, that (instead of printing or even instead of 3D printing) looks at your finished digital painting file (not a computer generated image) and carries your exact movements (by learning the patterns of your personality, emotions and neural activity), painting your image move by move, on a canvas that you can hang on your wall, adding amazing extra texture to your digital painting.

So, as you can see, now as I am beginning to teach myself to draw and paint digitally, I did my share of thinking about this art form and field. I hope some or most of this essay was interesting to you.

Rest assured that this art technology will evolve and in a few years people will begin to acknowledge freehand digital (drawing and) painting as the serious art form it already is.

Remember, that in life and in art: It is the experience that really matters!


A small detail of my Lake Como painting:

Lake Como by Regina Saphier 2015 (Freehand Digital Painting)

Lake Como by Regina Saphier 2015 (Freehand Digital Painting detail)


By the time I completed this blog (on August 31. of 2015), I also completed a new painting. Here are three versions of my “Le Pin Parasol”:

Three versions of my Le Pin Parasol. (Le Pin Parasol Capri by Regina Saphier Freehand Digital Neuro Fauve Painting 2015)

Three versions of my Le Pin Parasol. (Le Pin Parasol Capri by Regina Saphier Freehand Digital Neuro Fauve Painting 2015)


This is a detail showing the manual/digital brushstrokes on my Le Pin Parasol representing the sea and the trees (note: I opted for homogeneous waves, but you can go really wild if you change the settings of the tools):

Le Pin Parasol by Regina Saphier 2015 (detail: digital brushstrokes)

Le Pin Parasol by Regina Saphier 2015 (detail: digital brushstrokes)

I painted this sight based on a photo on Pinterest. There wasn’t much info… I only knew that it was somewhere on Capri, in Italy. I could see that the tree was a Stone Pine. I had a good feel for the entire spacial experience. As usual, I got curious and used my almost savant like skill to find the original location (note: I used to be the nightmare of real estate agents… I could find their advertised homes based on the smallest spacial information… just seeing a small part of a city, like a rooftop is enough for me… on several occasions I would wave at the agent from the specific building’s door while he or she would wait for me at some neutral corner… finding things on Google Earth is something I also like to challenge my friends with… it is so much fun!). I used Google Maps and Google Earth and within 5 minutes I discovered the exact place. I zoomed in and out and explored the area. If you are like me, you can find it based on my painting in 5 minutes too. (Here is the solution if you can not find it, but first try if you have the time… if you don’t, just highlight the section: Via Krupp)


But here is the really amazing discovery I made during this process!

I used the same savant skill and tools (that I described above) to find the place in Monaco where Róbert Berény painted his Monaco houses and rooftops in 1905. I created the digital painting remake to learn (note: the Samsung Galaxy Tablet that I am using and the ArtRage version on it are Android based), plus discovered the place on Google Earth where he created his painting. The address in my opinion is 23 Boulevard Albert 1er, Monaco. I think Berény was standing on the terrace in the courtyard (he was facing south on a sunny winter morning very close to the sea in Monaco) and he painted the north facing walls and rooftops of a few villas on Rue Princesse Antoinette (unless he took photos as many of his contemporaries did). If you look closely, even the characteristic glass bricks are visible from space. (See images below for a better understanding.) From Rue Grimaldi one is able to see parts of the buildings on Google Street View. The building that is yellow today used to be peach colored a few years ago … and before that it could have been pink or red. A lot has changed in over 100 years in Monaco… and yet the atmosphere is the same in this courtyard.

Young Berény (only 19 at the time) was standing behind the inner white structure (on the left side, as seen from Rue Grimaldi below) on a huge terrace and faced the smaller buildings (like the yellow one on the right side)… The colors were different in the past, plus his imagination also played a role. Of course some of the buildings were slightly reconstructed since the original Berény painting was completed in 1905, but the place is 100% recognizable. (I posted images of the original painting at the end of my post.)

I am assuming this is a historically significant discovery, this is why I felt that I should publish it immediately as part of my digital art related blog post. I used to own the painting, I created its remake digital painting as part of my recently started learning process and I spotted the special place while exploring the area for further artistic inspiration via Google Maps, Earth and Street View. I painted a street approximately 500 meters from this location in August 2015. I was getting closer and closer and suddenly I had the exact place. I felt obligated to share my discovery with everyone who is able to appreciate it.

Thank you Google! I love technology! I love art! I love to write! I love to paint! I love to do research! I love to discover! I love the experiences!

Here are a few images to help you understand my research result:

Young Róbert Berény's inspirational courtyard as seen from Rue Grimaldi in Monaco... a lot has changed in over 100 years... and yet the atmosphere is the same.

Young Róbert Berény’s inspirational courtyard as seen from Rue Grimaldi in Monaco… a lot has changed in over 100 years in Monaco… and yet the atmosphere is the same in this courtyard. Berény was standing behind the white building on a huge terrace and faced the smaller buildings like the yellow one… The colors were different in the past, plus his imagination also played a role. Of course some of the buildings were slightly reconstructed since the original Berény painting was completed in 1905. (Image source: Google Street View)


Monaco - Berény's special courtyard as seen from Rue Grimaldi ... the yellow building used to be peach colored ... and before that could have been pink or red

Monaco – Berény’s special courtyard as seen from Rue Grimaldi … the yellow building used to be peach colored … and before that it could have been pink or red … (Image source: Google search)


The villas on Rue Princesse Antoinette in Monaco, Berény painted their courtyard facing facades (research by Regina Saphier Image source: Google Street View)

The villas on Rue Princesse Antoinette in Monaco… Berény painted their courtyard facing facades in my humble opinion (research by Regina Saphier (Image source: Google Street View)


Automobile Club Monaco, 23 Boulevard Albert 1er, Monaco

Automobile Club Monaco, 23 Boulevard Albert 1er, Monaco (research by Regina Saphier (Image source: Google search)



The courtyard today that inspired Róbert Berény in Monaco in 1905 ... even the glass bricks are visible from space! (Place of creation and point of view of the artist researched and discovered by Regina Saphier in August 2015)

The courtyard today that inspired Róbert Berény in Monaco in 1905 … even the glass bricks are visible from space! (Place of creation and point of view of the artist researched and discovered by Regina Saphier in August 2015) (Image source: Google Earth)


Visual Update: "The Secret Garden in Monaco" by Regina Saphier - September 7., 2015, freehand painting on digital medium. (I created this painting from Rue Grimaldi after I discovered the courtyard where Berény painted his Monaco Rooftops. My world view, Berény's motives and the location today are represented together in this visual synergy that reminds the viewer of children's stories. I have to admit that I am surprised that I am capable of something like this just six weeks after I started my visually artistic self directed learning adventure, especially because I am only painting during the weekends.)

Visual Update: “The Secret Garden in Monaco” by Regina Saphier – September 7., 2015, day version, freehand painting on digital medium. (I created this painting from Rue Grimaldi after I discovered the courtyard where Berény painted his Monaco Rooftops. My world view, Berény’s motives and the location today are represented together in this visual synergy that reminds the viewer of children’s stories. I have to admit that I am surprised that I am capable of something like this just six weeks after I started my visually artistic self directed learning adventure, especially because I am only painting during the weekends.)


Visual Update: "The Secret Garden in Monaco" by Regina Saphier - September 7., 2015, night version, freehand painting on digital medium. I prefer the night version, because it is more dream like and mysterious.

Visual Update: “The Secret Garden in Monaco” by Regina Saphier – September 7., 2015, night version, freehand painting on digital medium. I prefer the night version, because it is more dream like and mysterious. (Note: The dates on my paintings are the dates of publication.)




The original Berény painting on my wall and the photo on canvas reproduction Berény on my wall

The original Berény painting on my wall and the photo on canvas reproduction Berény on my wall


Berény's Monaco and the window detail with the black and the blue winter coat - smart phone photo by Saphier Regina 2015

Berény’s Monaco and the window detail with the black and the blue winter coat (I discovered the blue coat after I created the remake, painted the new rendering of the courtyard and the buildings and wrote this blog post… suddenly I noticed it on my own photo) – smart phone photo by Saphier Regina 2015



In case my fascinating story that I discovered the place of creation in Monaco of a Hungarian Fauve painting (by Róbert Berény) that I used to own wasn’t exciting enough (as part of this blog post in English and as the main topic of my latest Hungarian blog post), let me add this:

Gergely Barki, the number one Berény expert in Hungary was in Monaco at the very same time looking for the location where Berény created another early painting depicting houses in the Port of Monaco. We weren’t aware that the other person is exploring the area (him in person with his lovely family, and me online while painting and doing my detective work).

As it turns out, we have met 15 years ago in my own former home where my Berény painting was on display at the time. After returning to Hungary, Gergely was stunned when he accidentally found my blog (during a Google search) with the images of the courtyard that he also photographed. As he wrote he was only a 1000% sure that it was the same courtyard after he read my blog.

I’m thrilled that the story just keeps getting better! He gave a talk at a press conference of the Virág Judit Galéria in Budapest today on September 21 of 2015 and Gergely incorporated my findings and blog post into his presentation.

He was so enthusiastic as if we were related and I love that! It is so nice to correspond with someone who had a very similar experience, and who is able to appreciate my results. I wish I had an enthusiastic sibling like him!



Saphier Regina: Emberi Sejtések az Üvegszilánk Tengerben

Saphier Regina: Emberi Sejtések az Üvegszilánk Tengerben


Megaparsec-ről megaparsec-re, avagy igazán kis lépés az emberiség…

Kritikus, de optimista futurista vagyok, és az utópiákat irányjelzőknek tekintem.

Ez a blog bejegyzés nem az Univerzumról szól, hanem a világnézetemről, de az Univerzumról is megtudhatsz valamit, ha érdekel.

Ars Poetica… pillantás önmagunkra és az életünkre az Univerzumban, a helyi és a Föld-i társadalmunkban, az internet korában, miközben Magyarországon (vagy bárhol) élünk… gondolkodó és érző lények vagyunk… avagy mindenki lehet jobb, ha felemeli a fejét, körülnéz és tudatos emberként él.


Galaxissal a Nárcizmus Ellen

Kiváló lelkigyakorlat az Androméda Galaxist ultra finom felbontásban látni… 2 és fél millió fényévre van (ennyi évig jön onnan ide a fény, ami ugyebár a leggyorsabb dolog az Univerzumban, bár a “téridő” maga tágulhat gyorsabban, mint a fény maximális sebessége, de nem a mi Galaxisunk tárgyi valóságában… mi a Laniakea Supercluster viszonyrendszerében élünk)… Az Androméda Galaxisban sok milliárd naprendszer vanés sok sok sok milliárd ilyen galaxis van az UniverzumbanMinden öntelt, nárcisztikus diktátornak az alábbi videót kellene újra és újra levetíteni, hogy tudják, semmit sem számít az erőlködésük. Semmit a világon. Még annyit sem, mint ez a pont itt: “.” De hogy még “pontosabb” legyek, az egész emberiség erőfeszítései és létezése sem haladja meg az előbb említett pont mértékét az Univerzum léptékében. Nem az ember a porszem, hanem a Föld. Vagy hogy fokozzam, nem a Föld a porszem, hanem a (naprendszernek közepes méretű és galaktikusan mellékes) Naprendszerünk.

Csodás képek… több millió éves fényből… az a sok fényes pötty, mind egy-egy Nap a maga Naprendszerével… bolygókkal és lehetséges életformákkal… szinte lehetetlen, hogy ilyen rengeteg Nap körül ne alakulna ki élet máshol is… és ez csak egy galaxis a megszámlálhatatlanul sokból…


Bevezetés az Univerzum Sokkoló Léptékébe

Az adatokat főleg angol nyelvű wiki oldalakról mazsoláztam ki.

Milky Way (a Tejútrendszer, vagyis a Galaxisunk, melyet még egyetlen ember sem látott kívülről)
Stars: 200–400 billion (magyarul ennyi milliárd, a Napunkhoz hasonló csillag van benne)
Age: 13.2 billion years (kicsit fiatalabb, mint az Univerzum, ami már 13,82 milliárd éves, a tudomány mai állása szerint)

Andromeda Galaxy (az Androméda Galaxis, az egyetlen a Földről szabad szemmel is látható galaxis)
Stars: 1 trillion (magyarul 1 billió csillag van benne)
Age: 9 billion years (“csak” 9 milliárd éves, fiatalabb, mint a Tejútrendszer)

az amerikai billion = magyarul milliárd
az amerikai trillion = magyarul billió; továbbá angolul a tizedes törtek egész és tört részeit ponttal, magyarul vesszővel választjuk el.)

Az Univerzumban a tudomány mai állása szerint 100 milliárd galaxis van… na jó, 2016 óta több mint 1 billióról beszélnek (ez a Látható Univerzumra vonatkozik… az Univerzum sokkal nagyobb, mint a “Látható Univerzum”… bár van, aki máshogy gondolja… de ebbe most nem mennék bele).

Az Univerzum 13,82 milliárd éves. Földünk úgy 4,5 milliárd éves… a Nap néhány milliárd év múlva vörös óriássá fúvódik majd fel, és elnyeli a Földet (majd még később a Nap fehér törpe lesz, stb…). Szóval olyan mindegy, hogy kit hova temetnek (a villanásnyi érzelmi tényezőkön túl), mert idővel mind megyünk vissza az atomi körforgásba… a quantum “levesbe” (… ami ki tudja hány dimenziós?). Mint említettem, 1 billiónál is több galaxis van a Látható/Megfigyelhető Univerzumunkban (ez csak egy becslés, mert lehet, hogy sokkal több)… Ha mindet kivonjuk, az összes anyagot, és csak a “Sötét Anyag” és a “Sötét Energia” marad, az univerzum akkor is ugyanolyan lesz, annyira keveset számít benne 1 billió galaxis anyaga, sok sok sok billiónyi csillagrendszerrel. Az évmilliárdok múlásával az Univerzum-ban található galaxisok annyira eltávolodnak majd egymástól, hogy nem látunk majd át egyikből a másikba… a legtöbb galaxis fénye örökre eltűnik majd a szemünk elől (egész pontosan a műszereink “szeme” elől)… Akik akkoriban élnek, nem tudják majd, hogy a mi időnkben az égbolt tele volt csillagfénnyel… nem tudnak majd nagy léptékű méréseket sem végezni, mert nem lesz minek a vörös eltolódását megmérni (egy távoli galaxis vöröseltolódása azt jelzi, hogy milyen mértékben távolodik… vagyis hogy a tér milyen gyorsan tágul a konkrét galaxis és a Tejút között)… Nem tudjuk, hogy: az Univerzum örökké tágul-e majd, vagy egy nap elkezd összehúzódni, összeesni és/vagy összeomlani…?

Az már biztos, hogy ekkora Univerzumban (ilyen sok Galaxissal, Naprendszerrel, és a hozzájuk rendelt borzalmasan sok bolygóval) kell/kellett legyen szerves, sőt, intelligens élet máshol is, főleg mivel az élet kialakulásának alapvető kvantumos és fraktál alapú mechanizmusai, a kémiai alapanyagok és a fizikai illetve matematikai törvények máshol is jelen kell, hogy legyenek, ha egy ilyen mellékes bolygón jelen voltak és vannak, mint amilyen a Föld.

Ennyivel forog a Föld a saját tengelye körül: 1 674,4 km/h
Ennyivel keringünk a Nap körül: 107 229 km/h
A Napunk (így a Naprendszerünk) sebessége a Galaxisunk közepéhez képest (más számítások szerint ennél is gyorsabb): 720 000 km/h

A Föld Nap körüli sebességét és a Nap-nak a Galaxisunk közepe körüli sebességét egyszer meglepően jól megtippeltem, amikor a legjobb barátom megkérdezte, hogy szerintem mennyi. Az elsőt 100 000 km/h-ra, a másikat kb. 1 millió km/h-ra tippeltem. Milyen furcsa, hogy az ember ilyesmire ráérezhet.

“Mindig is Űrutazáson Vettél Részt, Csak Nem Vetted Észre.”

A Tejútrendszer, vagyis a saját galaxisunk sebessége az Univerzumban (ez nem forgás, hanem haladás a térben): 2 200 000 km/h. Egyszerűen fogalmazva, már régen nem ott vagyunk, ahol megszülettünk, és oda már soha senki sem térhet vissza. Én pl. minimum 820 milliárd km-re vagyok a születésem “helyétől” az Űrben, ha jól számoltam. Gyors vagyok, na! Mind gyorsak vagyunk, csak nem érzékeljük.

Az Univerzum eszeveszett sebességgel tágul. A tér (és ilyenkor mindig a téridő szövetére gondolok) 3 261 633,44 fényévenként, tehát bő 3 millió fényévenként (ami 1 megaparsec-nyi távolság) több mint 270 000 km/h-val tágul… (A Tejútrendszer és az Androméda Galaxis 1 megaparsec-en belül vannak…)

Ha valami már 2 megaparsec-re van, az 2 x 270 000 km/h-val távolodik tőlünk. Ami 10 megaparsec-re van, az már 2,7 millió km/h-val távolodik… nem az anyag, hanem a tér tágul. Ha te ilyen gyors lennél, akkor “elugorhatnál” az Androméda Galaxisba kevesebb, mint egy óra alatt…

Egyszer az egyik családtagom azt a nyilvánvaló tényt ecsetelte, hogy az emberiség jelenleg éppen arra készül, hogy elhagyja a Földet és űrutazásra induljon, más planéták meghódítása céljából, stb. … Mire én ezt válaszoltam: “Mindig is űrutazáson vettél részt, csak nem vetted észre.” Meglepődött és nevetett, ráébredt, hogy így van… pedig még nem is olvasta ezt a blogomat… ha elolvassa, akkor érti majd meg igazán, hogy miről is beszéltem.

A látható univerzum átmérője 93 milliárd fényév vagyis 28 000 megaparsecs (Mpc)… Akkor, ha jól számolom, 270 000 km/h x 14 000 Mpc = 3 780 000 000 km/h… ennyivel távolodnak a legtávolabbi látható objektumok (a sugár értéke elég, mert a Látható Univerzumnak a közepén vagyunk, mivel ez “a mi” Látható Univerzumunk)… A fény max. sebessége 1 080 000 000 km/h légüres térben… Akkor a legtávolabbi látható tér rész három és félszer gyorsabban távolodik tőlünk, mint a fény maximális sebessége, ami felénk közeledik? (Az Űr nagyrészt “Sötét” Anyag és “Sötét” Energia… a tudósok nem tudják, hogy mi is az a “Sötét Anyag” és a “Sötét Energia”… és a kvantum fizika szintjén is elvesztik a fonalat.) A távoli fény ideér, mert az eszeveszetten táguló “téridő” fényévmilliókon át szinte “kipattan alóla”, “elsüvít mellette”…? (Nem állítom, hogy ezt itt 100%-ban értem. Nem tudós vagyok, hanem kíváncsi, de lefogadom, hogy akadnak tudósok, akik ezt szintén nem teljesen értik.) Ráadásul mivel az Univerzum főleg légüres tér, ezért a fény általában a maximális sebességével tud haladni… néha évmilliárdokon át (esetleg hatalmas égitestek gravitációja tudja lelassítani, hogy egy példát említsek). Néha nem 8 perces napfény, hanem mondjuk 8 ezer éves, 8 millió éves vagy 8 milliárd éves fotonok jutnak a szemünkbe… főleg éjjel érzékelhetjük a kis “szakállas” fotonok (nappal a napfény dominál)… és sokszor már régen nem létező csillagok szellemképét közvetítik, egy 8 perces foton frissességével. Persze a 8 perces foton sem 8 perces… mert sokkal hosszabb ideig dolgozta fel magát a Nap felszínének közelébe, hogy aztán útra keljen és pár perc alatt ideérjen a Földre.

100 Éve az Univerzumot még Galaxis Méretűnek Hitték

Pár hónapja valaki azt kérdezte tőlem, hogy “minek a Multiverzum elmélet, hiszen nem elegáns és felesleges”… Ez olyan, mintha azt kérdeznéd, hogy miért kellene több Bolygó, több Naprendszer vagy több Galaxis… Tudd, hogy alig száz éve még azon vitáztak, hogy az Univerzum akkora-e, mint a Tejútrendszer, vagy sokkal nagyobb? Akkor is volt sok olyan ember, aki szerint “az Univerzum nem lehet nagyobb, mint a Galaxisunk”, és akkor “minek is multi galaktikus elméleteken agyalni”… de ezen már szerencsére túl vagyunk. (Note: Hogy a párhuzamos avagy parallel univerzum elméletet vagy a többszörös avagy multiverzum elméletet tartod feleslegesnek, az teljesen mindegy, mert ötletes, felszabadult, játékos gondolkodás nélkül nem megyünk semmire, anélkül nem lehet felfedezéseket tenni.)

Aki meg azt kérdezi, hogy minek ilyenekkel foglalkozni, az nem tudja, hogy a matematika, a fizika, a kémia, a biológia, és minden technológiai fejlődés a felfedező és gondolkodó emberek szellemi terméke, akik soha nem állnak meg és mindig kérdéseket tesznek fel, és folyton elképzelnek még ismeretlen lehetőségeket, keresik a bizonyítékokat, az összefüggéseket, a mérési módszereket, a bizonyításokat, és nem ragadnak le a meglévő válaszoknál. Akár meghalni is képesek a tudásért és az igazságért. Az emberiség az ilyen embereket előszeretettel gyilkolta le a fafejű dogmák védelmében, de minimum szívesen gyötrik őket éjjel-nappal valami hétköznapi átlagos butaság, egyoldalúság és tudatlanság mentén. Ma is előszeretettel lehetetlenítik el a haladó, kíváncsi és kreatív gondolkodású embereket, akik képesek mindent feladni, hogy gondolkodhassanak. “Miért nem vágsz fát gondolkodás helyett…?” – kérdezik… vagy: “Ha családod lenne, nem gondolkodnál ennyit.” vagy “Bezzeg, ha csak az önfenntartó pénzkeresésre koncentrálnál, nem gondolkodnál ennyit.” De bizony a gondolkodó ember minden körülmények között elsősorban gondolkodó. Az értelmesebb társadalmak a saját jól felfogott érdekükben támogatják a gondolkodó és másokat tudással fejlesztő polgáraikat, sőt, elcsenik más társadalmak gondolkodásra hajlamos tagjait, ha csak tehetik. Elég kevés ilyen társadalom van… és a magyar társadalom biztosan nem ilyen.

Egy Történet

Alfred Binet, aki a gyerekek szellemi fejlődését vizsgálta, egy nap azt mondta a nőnemű munkatársának, hogy soha sem lesz belőle jó és sikeres szakember, ha férjhez megy és gyerekeket szül. Ez, bár elég rémes megjegyzés egy férfi tudóstól egy nő felé, főleg a gyerekek fejlődését vizsgáló szakembertől… attól még sajnos nem alaptalan meglátás. A bökkenő csak az, hogy ezt Binet bő 100 évvel ezelőtt mondta Franciaországban… ahol akkoriban Marie Curie pl. kétgyerekes és egy db Nobel díjjal rendelkező tudós és özvegy lehetett… de mint tudjuk, ő egészen kivételes eset volt és mellesleg, két hónappal Binet halála után, Franciaországban akadt egy Lengyel nő, akinek két Nobel díjat adtak összesen… vagyis mindent lehetne, csak felvilágosult társadalmi és anyagi támogatás kellene hozzá, ami Marie Curie-nek nem annyira volt, bevándorlóként… de a férjével tudósként már megkapta a támogatást, és később saját jogán is… Ha nem lett volna se férje, se gyereke, de lett volna kellő támogatása, ki tudja, hogy még mi mindent adott volna az emberiségnek!?

Ha egy nő a mai magyar társadalomban nem akar sem valakinek a felesége, sem egy halom gyerek édesanyja lenni (miközben kifejezetten szereti a gyerekeket, a nyitott gondolkodásukat, míg többségükben tönkre nem teszik őket a korlátolt társadalmi elvárásokkal), sem munkahelyi rabszolga nem akar lenni… tehát ha egy nő inkább az Univerzummal, a társadalom vagy az emberi szervezet működésével, vagy éppen egy épület dekoratív ábrázolásával akar foglalkozni, miközben teljesen intézmény (és férj) független, akkor azt a nőt anomáliaként kezelik, a mai napig, és gyakorlatilag nulla az önálló létezésének az esélye. Ez szégyen! Itthon általában 100 éves társadalmi elmaradásban vagyunk.  “Lógunk” a földgolyón, az életünk egy pillanat a végtelenben, és mégis vannak olyan idióták, akik a mai napig foggal-körömmel ragaszkodnak az elavult fogalmakhoz, nézetekhez, és berendezkedéshez, és még ma is megengedik a diktátornak, hogy a társadalom testén élősködjön.

Addig is, vessünk egy további hosszú és elmélyült pillantást Önmagunkra, ebben a végtelen nagy kontextusban.

A Földönkívüliek Valójában “Univerzumon-belüliek”, Mint MI… és Nyakunkon a Gépek Kora… az “MI”… avagy a Mesterséges Intelligencia

Az első (univerzum) “idegen” és (az emberhez képest) intelligens életformát talán éppen mi magunk hozzuk létre a Mesterséges Intelligencia és a Robotika síkján. Ebből is látszik, hogy az Univerzumtól valójában szinte semmi sem idegen, mindennek az alkotó részei ott hevernek szanaszét, mint egy Lego-s dobozban, csak rá kell jönni, hogy mi mire és hova való. Csillagpor vagyunk egy ki tudja pontosan hány dimenziós, száguldó, felfoghatatlan közegben… miközben a kvantum fizika olyan bizarr, hogy a tudósok azon a szinten is hamar elveszítik a “valóság” fonalát… és nem igazán értik… de az eddigi tudásunk is az emberi fantázia eredménye, beleértve az ötletek fokozatos elvetését vagy bizonyítását is. És akkor ha hozzáadod, hogy az atomokban rengeteg az üres tér, és az ember főleg víz és sok tekintetben nem emberi biomassza (minden egyén emberi és nem emberi génállományok összessége… az arányokról még vitatkoznak a tudósok), akkor nehéz megmondani, hogy mi az “ember”. Az is teljesen világos, hogy emberi társadalom, hálózatok, társadalmi szövet nélkül az egyén semmit sem ér. Tehát az is kérdéses, hogy mi az “egyén”?

Egy ember csecsemő, egyedül az erdőben nem cseperedik klasszikus értelemben vett emberré. Nem jut hozzá az emberi társadalom összességében és alrendszereiben tárolt információkhoz. Azok az emberek, akiknek nem tanították meg a beilleszkedés alapvető szabályait, vagy akiknek megtévesztő mintákat mutattak egy lelkileg beteg társadalomban (a lelki betegség valójában testi, fiziológiai betegség, pl. az agy fizikai sérülése, agykémiai folyamatok genetikus vagy epigenetikus zavara… vagyis a beteg társadalomban az emberek alkotják a beteg társadalmi szövetet, ami tovább nyomorítja az egyéneket… folyamatos oda-vissza hatás mellett), vagy azok az emberek, akik idegenkednek a társadalmuk elviselhetetlen, megbetegítő működési zavaraitól, azok nyilván nem tudnak a beteg társadalomban funkcionálni. Hogy lehet ezért valakit hibáztatni? Ha nem megyek bele egy koszos medencébe, akkor miért hibáztatna engem bárki? (Persze szinte mindenki, zsigerből az ilyen embereket hibáztatja, nem magát a visszataszítóan beteg társadalmi szövetet. Vagyis ha nem lenne elég a kirekesztettség paradox érzése, amikor látja a kívülálló, hogy mindenki nyakig merült a rossz közegben, és szapulják, hogy miért nem ugrik már bele, akkor még a kívülállás ténye miatt is megkapja a magáét. Ma már tudjuk, hogy azok a legmagányosabb emberek, akik a legjobban képesek átérezni és észlelni, hogy másokban mi folyik. Egy agresszív közeg egy ilyen embernek szinte fizikailag fáj. Megint mások azt gyanítják, hogy erősebben érzékelik a negatív üzeneteket. Ismerek ilyen embert, nem is egyet. Ha egy mondatban mondok három pozitív és egy negatív dolgot, csak a negatívra emlékeznek. Én nem vagyok magányos, hanem szeretek egyedül lenni. Komoly különbség. Bár nem sír a lelkem az emberi csoportok után, de one-on-one szeretek együtt lenni másokkal. Egyszer egy rajzfilmben láttam két kis figurát, az emberek gondolatainak szagát érzékelték. Emlékszem, hangosan csak annyit mondtam, hogy én is valami ilyesmit érzek. Amikor valakire reagálok, legtöbbször nem a kimondott, hanem a leplezni kívánt gondolataira reagálok. Ezt persze az emberek nem szeretik, illetve engem is megterhel a túl sok információ. Szóval én nem a negatív jelekre, hanem az őszintétlenségre, az indokolatlan bizalmatlanságra, a disszonanciára, a figyelmetlenségre és a tiszteletlenségre reagálok, amiből itthon van bőven. Ugyanakkor nagyon értékelem, ha valaki pozitívan viselkedik. Ez akkor is igaz, ha valaki pozitívan korrigálja a viselkedését.)

Add hozzá a társadalmi folyamatokhoz, hogy ma már azon agyalunk, hogy mi lesz, ha a gépek majd mindent el tudnak végezni helyettünk. A Mesterséges Intelligencia az emberiség szeszélyes teremtménye. Egy-két generáció felnövekedése során elborított minket a technológia… Se azt nem tudjuk, hogy kik vagyunk, se azt, hogy hol vagyunk, se azt, hogy mekkorák vagyunk. Elveszett kis szimbiotikus emlősök vagyunk a végtelen semmiben, ez az igazság. Ehhez képest szinte elviselhetetlen mértékű rálátásunk van a környezetünkre, amivel korábban egyetlen élőlény sem rendelkezett a Földön. A legtöbben leszegett fejjel próbálnak erről nem tudomást venni. Isznak, drogoznak, tárgyakat és pénzt halmoznak, hogy tompítsák a kicsiség és a létezés fájdalmát. Én inkább szembenézek. Szembenézek a Semmivel. Az Űrrel. A Galaxissal. Az Ismeretlennel. Az emberi társadalom felhalmozott és online is elérhető tudásával. Éveken át a személyes halállal és a megsemmisüléssel is szembenéztem, széthúztam egy képzeletbeli függönyt, és belenéztem a halál arcába. A félelem, a rettegés, amit éreztem, borzalmas volt, újra és újra. Megértem azokat, akik ez elől egy nemlétező isten kegyeit vagy a bódulatot keresik. Én nem keresem, pedig sokkal könnyebb lenne. Ugyanakkor éppen most, egy, az élvonalbeli öregedés kutatással és a regeneratív terápiákkal foglalkozó komplex blogon dolgozom* (angolul), mert de jó lenne egy kicsit tovább élni a Földön. (* Ez az egyetlen olyan blogom, melyet azután sem publikáltam, hogy szinte készre írtam, mert nem voltam megelégedve a feltárt technológiákkal és terápiákkal. Majd akkor folytatom ezt a munkát, ha már elégedett leszek a regenerációs módszerekkel. Írtam ugyanakkor egy blogot angolul arról, hogy milyen manapság rákbetegnek lenni, milyen tanácsokat adtam rákbetegeknek, hogy milyen kezelések léteznek, és hogyan képzelem a rákbetegek gondozásának jövőjét. Regina Saphier: Advising Cancer Patients)

Az emberek az itt felsorolt miniatürizáló tények ismerete nélkül is nemlétező istenek kegyeit keresik, hiedelmekbe és babonákba, gondolkodást ellehetetlenítő világnézetekbe menekülnek, a halálfélelem és a megsemmisülés gondolata elől… Mi lesz ha tudatlanságuk és hiedelmeik közepette megtudják, észreveszik, felfogják, hogy még annál is kisebbek és jelentéktelenebbek, mint amit gyanítanak…!?

Ezért kell az embereknek tudást adni, hogy mihamarabb okosabbak lehessünk (összességében)… hogy ezt a kis semmiséget, ami az egyéni élet, harmóniában élhessük le, leszegett fejű kínlódás helyett, és ami felfedezhető, azt felfedezzük magunknak és a jövő emberei számára az Univerzumban (vagy a Multiverzumban). Szerencsére előttünk is éltek felfedezők és gondolkodók. Azt hinni, hogy az élet leélhető egyedül, minden rendszertől függetlenül, az nagy butaság. Minden lélegzetvétellel már rég meghalt emberek kilélegzett részecskéit lélegezzük be… az egész emberiség, és minden ember egy bioszféra része, és az Univerzum része. Mutatok neked egy új perspektívát (magam alkottam, az érthetőség kedvéért): Az úgynevezett “Földönkívüliek” valójában “Univerzumon-belüliek” vagy akár “Galaxison-belüliek”… mint mi (“extraterrestrial” versus “intra-universal” or “intra-galactic”). És persze létezhetnek Univerzumok-közöttiek (inter-universal), de ezek gyaníthatóan még nem mi vagyunk…


Rombolás és Építés

Persze mindig jön egy piti, buta, nárcisztikus, önző, korlátolt, agresszív, szociopata diktátor, aki fontosnak hiszi magát és lerombolja a legnemesebb emberi törekvéseket… (Note: a diktátor általában nem fogja fel, hogy ő egy diktátor, mások viselkedésével indokolja meg a saját rémes tetteit, ahogy sok elmebeteg sem tudja, hogy ő elmebeteg, “bezzeg a  többiek mind annyira gyanúsan viselkednek”.) És ez így megy évezredek óta… de hátha egy nap az emberiség olyan mértékben lesz művelt és gondolkodásra hajlamos, hogy végre nem hagyja majd magát. A birtoklási vágy, a hatalomvágy, a becsvágy, és ezek következményei mind csak szemfényvesztés. A szemlélődés, a gyengédség, az együttérzés, az együttlét, a tanulékonyság, a tudásvágy, a tudásmegosztás, a kíváncsiság, a rácsodálkozás, a kutatás, a felfedezés, a kreativitás… ezek a fontos dolgok.

Itt van két wikipedia link, ezekkel azt szeretném demonstrálni, hogy milyen kevés dolog érhető el magyarul, és milyen sok angolul:útrendszer

Milky Way – 100 billion stars

Univerzális Szemlélet (nem csupán globális rálátás)

Ez a blog bejegyzés, mint láthatod, nem az Univerzumról szól, hanem arról, hogy én hogy látom a világot. Ebből a szemszögből nem tudom úgy látni a világot, ahogy a legtöbben, mert az én élet feladatom az, hogy tanuljak, utazzak, figyeljek, olvassak, gondolkozzak, írjak és szintetizáljak. Ez ebben a társadalomban (itthon) nem sokat ér. Mások arra rendezkedtek be, hogy együtt átvészeljenek valamit, egy zárt korszakot, és félretettek mindent, ami nem szolgálta ezt a folyamatot, és voltak, akik nem adtak fel semmit, amit nem volt mindenképpen muszáj (ha az a valami fontos volt nekik). Én arra rendezkedtem be, hogy megismerjem a világot és írjak róla, miközben jövök-megyek, mert a határok már nem zártak. Ezt a jövés-menést, a tanulást, ahogy az írást is, jelenleg az interneten folytatom. Elmondom, amit gondolok, de senkire sem erőltetem rá a nézeteimet.

Sajnos az agyak itthon még ma is zártak (tisztelet a kivételnek), pedig a tudás ott hever az interneten, ingyen, csak jó kérdéseket kell feltenni, olvasni és gondolkodni kell, és le kell írni vagy el kell mondani valaki másnak, hogy mit tudtunk meg és mire jöttünk rá. Tanulni így lehet a legjobban, és én szeretek tanulni és továbbadni. Sajnos a társadalmi léptékű túlélő póz (amit akkor is fönntartanak az emberek, amikor már nem kellene, mert lelkileg, vagyis fiziológiailag sérültek, és sérült a társadalmi szövet is, melyben élnek… a változáshoz tudatosság, a tudatossághoz tudás, a tudáshoz információ kellene… ez olyan, mint a beteg sejt a beteg testi szövetben… pl. elrákosodik… szóval ez) nem teszi lehetővé az embereknek, hogy kíváncsiak, nyitottak legyenek, hogy kérdezzenek, hogy gondolkozzanak… Ha nem a beszűkülten (és paradox módon) hedonista túlélő póz határozná meg ezt a társadalmat, akkor én sem élnék internet emigrációban. Az interneten lehet nyitott és gondolkodó emberekkel találkozni, de a tartalmaik sajnos nem jutnak el a társadalom széles rétegeihez, mert ők a borzalmas színvonalú köztévéket és kereskedelmi televíziókat nézik.

A gondolkodó és érző “különc” nem hülye, csak nem tud és nem akar úszni a beteg társadalmi beilleszkedési követelmények mocskos üvegszilánk tengerében! Ezt látom, érzem és hallom: “Ha nem vagy pont olyan, mint mi, akkor folyton csipkedünk, piszkálunk, nyaggatunk, megítélünk, hátha végre beledöglesz, hiszen sokkal érzékenyebb vagy, mint mi, akik az üvegszilánkok között is elnavigálunk, mert olyan vastag a testünkön a bőr… Gyötrünk, mert az nekünk titokban jólesik… élvezzük mások szenvedését… Mi vagyunk a “normális” és “jó” emberek… Mi nem akarunk tanulni, mi ugyanolyanok akarunk maradni… Te vagy a hibás, mert gondolkozol és érzel. Hogy mersz gondolkodni, érezni és hogy mered közzétenni a gondolataidat? Hogy mersz nemet mondani a szokásainkra? Mi ehhez tudatlanok, gyávák és lusták vagyunk, akkor is, ha mindenünk megvan, miközben mélységesen féltékenyek vagyunk rád, hogy te képes vagy megtenni és meg is teszed. Mi nem mertük megkockáztatni a magányos és összetett szellemi felfedezés útját, akkor sem, amikor megtehettük volna.”

A másik dráma akkor következik be, amikor piedesztálra emelnek valakit, mert érez, gondolkodik, továbbá személyesen, és széles körben kommunikálja azt, amit gondol vagy érez… Mások (mindig tisztelet a kivételnek) miért hallgatnak, lapítanak, miért nem tesznek ők is valamit, ami előrevisz? Megvan a véleményem az emberekről (hiába vagyok alapvetően idealista és humanista), de úgy gondolom, hogy a jövő nem reménytelen. Kritikus, de optimista futurista vagyok, és az utópiákat irányjelzőknek tekintem. A jelen viszont meglehetősen reménytelennek tűnik. Egyet tehet az intelligens ember, előre néz, a jövőbe és arról beszél, hogy milyen lehet a jövőnk. Ez motivációt ad(hat).

Valahogy így érzem magam a társadalomban, a szemléletemmel. De mindegy… 100 év múlva mind a föld alatt leszünk, akik ma élünk… elporladunk. Persze én is szívesen éreztem volna jobban magam az emberek között, de ez kit érdekel, ez nem az én világom, nekem nem megy ez a felszínes képmutatás. Sose ment. (Note: Hiszem, hogy minden emberben ott van egy sokkal jobb önmaga. Ha a rossz és epigenetikusan átöröklődő emlékeket majd egy nap szelektíven ki lehet törölni, ha egy nap minden ember sokkal műveltebb és egészségesebb lesz, ha mindenkinek lesz alapjövedelme, akkor az egy kellemesebb világ lesz.) Ez ma a “normális” képmutatók és zsigeri manipulátorok világa. Szerencsére vannak nagyon jó pillanataim, önmagammal kifejezetten jóban vagyok, és van, aki szeret, és van kit szeretni. A kíváncsiság tart életben, mert az Univerzum, a természet, az emberi test, különösen az agy és a bélrendszer (a második agyunk), illetve a technológia nagyon érdekesek. Remélem, hogy sikerül valamit átadnom és közben valamire rájönnöm, az emberi közösség részeként, a magam módján.

Ezt én mondom, akiről jóformán mindenki azt hiszi, hogy individualista vagyok:
Az individualizmus, a mai formájában, szemenszedett hazugság. Senki sem létezik önmagában, még a különc sem. A modern társadalmak elidegenedésének következtében beteg közösségek és diszfunkcionális hálózatok alakulnak ki (de nem romantizálnám az elmaradott vagy a korábbi társadalmakat sem)… mindez megnyomorítóan hat az egyénekre. A szervezetünk is hálózatok tömegeiből áll. A testünk az emberi társadalom lokális és globális hálózataiban létezik. A Föld és rajta az emberiség a Laniakea szuperklaszter inter-galaktikus hálózatának része… 100 000 galaxis alkotja és 160 megaparsecs a kiterjedése. Hálózatban működik (szinte) minden, amit használunk… az okos telefon, a tablet, a laptop, a hűtő, a közlekedési lámpa, a villanykörte…

Az ember nem születik univerzális és hálózatos öntudattal. Ezt minden embernek meg kell tanítani, mint a járást, az úszást, a kerékpározást vagy az autóvezetést, a köszönést, a kézmosást vagy a gépelést… A vezetésre lassan semmi szükség nem lesz (bár én szeretek vezetni), úgyhogy autózás közben is lehet majd a világegyetemről és az emberi szervezetről tanulni online… így vagy úgy, de egymástól és végeláthatatlan formákban egymásra utalva tanulunk és létezünk, egy-egy röpke pillanatig, az Univerzum idejének agyzsugorító léptékében.