۱   ܲ            ߰             ۲    g  ۲۲   l  ۱      ܰ    ۰       ۱۱  ۲      ۲۲ܲ ܲ       ۲߰         ۲                                               ۰        ۲                        ߲                                                                                      ۲      ۲       ޲           ߲ ޱ           ܲ ް     ߲                                       ܱ ۲۲        ۲          ߲  ܲ      ܲ        ۲        THE ACiD FiELD TRiP COLLECTION! or B7: AN ACiD ODYESSY or SWING ALONG TO THE 90'S!  WITH ACiD! or O.D. ON ACID! (aCiD oVeRDoSe) or 100% CHANCE OF REiGN. ACiD REiGN! or JOLLY WHOMPS IN THE NIGHT. (U.K. Edition) take your pick! no clever name can contain the inte nsity of what you are about to witness! our spoken words are  no match for the visual conversation you are about to have wi th your computer. give your brain and your heart a night of f out on the town! let them re-embrace themselves as virgin lovers! my name is filth. until recently, i was an ansi art ist back when the united states had a president whos biggest lie was where he liked to keep his cigar(s). but this journ ey starts at a time before that. at time where, well, i don't  know too much because kids are dumb, and i was a kid before t hat. but during that time something grand started to take pla ce. the first link in a chain reaction was reacting to a sim ple tech- nology at a simple time. once again man has found a  new way of taking old, yet significant, accomplishments and turning them into the first step into the evolution of our k ind. he found a brand new way to communicate. a new way for  our pal John Everyman to reach out. from smoke signals, to beeps, to the screeching sounds of invisible words and ideas g oing back and forth. John Everyman had a new wheel: the modem . in tho...-   [SCENE MISSING: # 2-1337] WRITERS COMMENTARY (ON) OF F "... ahahaha, so that's when i said 'yo, spielber g! just use a guitar string to make the water ripple in the cup!' i guess you could say i s olved his 'Jurassic Problem!' so back to the blocktronics acid trip thing. i thought it'd be fun to do a sort o f timeline mash-up of all the acid packs. now let me tell you about the time that i had to convince stephen to change the name of his very personal film Schindlers List. originally, he wanted to call it 'Schindlers List!' but i said that the '!' might make it seem..." WRITERS COMMENTARY ON (OFF) ... with no refund. and so, RealDolls replaced the pixlated, grainy escape of amature porn. moving along. the following five pieces you are abo ut to see came about months ago when i had a temporary loss of  internet access for about a week and a half. because of my p assion for the craft of ansi art, i couldn't give my usual 110%  without having an onslaught of references to reference when drawing original works. well, that's an absolute straight u p lie. i couldn't get into drawing mode because i wasn't able  to stream bootlegged movies, and download scores of .mp3's to listen to. oddly enough, it sparked a somewhat old feeling i ha d back in the day from time to time when i used 'borrowed' int ernet accounts that would come and go. unable to draw fro m inspir- ation stolen from various images, i decided to go an d down- load all the ansi induced ACiD packs for a different  kind of inspiration from stolen wifi onto my .mp3 player. that's where the idea came from. sitting in front o f my computer, rendered useless with no internet, sifting  through years of ansi art created from the spark that starte d it all, it bombarded me with thoughts and memories from twen ty years ago (uncanny-ago). when you see a great ansi random ly, it's great. five minutes later you're doing something el se, and forget about it. when you see a seemingly endless l ine of great works of ansi, those thought stick with you. to be perfectly honest, back in the late 90's i was one of those bitter ansi artists haphazardly complaining about th e lack of ansi coming from the ACiD team. when it came time t o do away with the ACiD ansi division, i pissed and moaned eve n more. i'm sure i had a lot of rambling about my thoughts on Ra D Man and his decision to focus on other ACiD divisions that w ere actually active. i guess in those days i didn't really think  much outside of the box. i didn't really look at the bigger pic ture of things when i would babble on about the 'vga scene' not bei ng cool. of course, when i left the ansi scene and shipped of  to college, i majored in computer animation which revolves aroun d pretty much everything ACiD was doing as a reflection of the tim es. i'm assuming Rad Man had a very difficult time cutti ng the ansi division out. i also have a feeling that he had man y conversations and discussions with other ACiD members about doing so. the thoughts and comments people made afterwards about t his decision most likely became quite a pain in the ass for Raddo  and the rest of the ACiD crew (who, by their own right, were  still focusing on keeping art alive. just in a different manner.) when all they wanted to do was keep going. it's the end of 2013. this blocktronics pack will n o doubt have a mix of all kinds of wonders. (in true fashion, i' m writing the bulk of this about twelve hours before release.)  a lot of  great things have happened in the ansi sc ene since i came back after a fourteen year "break." no, no, not me comin g back and writing spraling intros and such. but accomplishmen ts as a whole, accomplishments from all of us. and up in the mix with all of this excitement, is th e man respon- sible starting it up so long ago - Rad Man aka: Ch ristian Wirth. i hope you enjoy me taking credit for the multitude of work done by others. if there's one thing that i hope to acco mplish by doing this, it'd be to make the spark of creative id eas to sink in and turn that spark into action. a showcase to e ither get oldschoolies back into the swing, or newschoolies a peek into where greatness of anonymous friends came together t o make some- thing out of nothing and to share it with everyone. send good vibes to Rad Man for seeing the bigger pic ture when a lot of us in those days were more concerned about irc channels and complaining. amd equally good vibes to all the artists within the se pieces. my apologies if i made any of their artwork look str ange from doing this. and my thanks to these artists, and all  the artists of these times for making those times significant al l these years later. k-radly yours, filth aka: joshua hillyard / pittsburgh, pa / nov ember 2013                       ۲  ۲ ۲۰             ۲                                          ۲                                                                                  ۱                  ܲ  ܲ       ۲           ۰       ۱                          ۱                          ܱ   ۲                                                     ߰     ݰ ߲   ۲       ܲ                                  artistic freedoms and artistic limitations:  as i stated earlier, this is pretty much a cut a nd paste job. however,  i didn't just take various square sizes and throw them  together. well,  maybe sometimes. (100 acid packs, roll with me on tha t) what i wanted  to do is take certain images, or PARTS of images that would stand out  when thrown into the mix. so maybe it would be an ent ire head, or  maybe just the eye. i wanted to maintain somewhat of a cohesive flow when  trying to mix a lot of images together. i have also taken images and  rotated them vertically and/or horizontally.  HOWEVER, aside from continuing black outlines around s hapes, letters, etc.,  one thing i DID NOT do is alter a single block to fit anywhere. no colors  were changed, and no outlines were changed to look lik e something else.  everything you see (aside from the above methods of ax is changes and out-  lines) is the exact way the original artist had placed  them. manipulating  pieces here and there would totally defeat the purpose  of what i set out  to do.  well, with the exception of one thing: 1.) human error - there's a lot going on with this.  by a lot, i mean fifty lines may contain five or six different sectio ns of artwork. because of this, and the set of sixteen colors, ther e were times when i'd place multiple images together that would have t he same color. given the format of this medium, it would get compli cated trying to differentiate where one image ended, and the other s tarted. this wasn't TOO common, but i did come across it from tim e to time. in the event when that would happen, i would erase/add a few blocks ONLY to continue an outline, or to define an original sha pe. xxx  specific artwork, artists, art-whatevers or personal taste didn't have  much pull when it came to deciding on what to use or what not to use when  selecting the pieces of pieces for these pieces. i c ould have filled  about half of this project using solely lord jazz art  (which wouldn't be  a crime to look at) but that defeats the collective p urpose of what i'm  trying to do. i could have filled hundreds of lines with entire somms  ansis (again, not a crime to look at) but again, defe ating the purpose.  this was meant to be more of a timeline displaying th e entire run of the  acid inquisition (ansi wise) from begining to end. a  reflection of certian  times of those ten years. the range of style, techni que, new ideas (both  good and bad), and a generalized attitude of what was  going on at certain  times throughout the run.  b - gl  l - iron man  o - grimm  c - slum dweller  k - fusion  t - jed  r - lordjazz  o - radman  n - sparr  i - crewl blade  C - darkforce  s - cool t  a - cleaner  c - avg  i - knockturnal  d - smoke  t - mattmathew  r - h7  i - enzo & avg_  p - fever  ! - zerovision SAUCE00The ACiD Field Trip collection Filth blocktronics 20131112tPb