Cindy Cian Ember and Tyler
Capturing Beauty
I finally realizd why I am having so many problems with people, and family members
THEY KNOW NOTHING ABOUT ART YET THEY WANT TO REALIZE MONEY AND FAME BY CAPTURING OUR CHILDREN AND HOLD THEM HOSTAGE FOR GOLD INGOTS
What esle is new? If you study Royal History you see this happend all the time. It was cpmmon to take each other’s hildren hostage to ensure the truce and the peace – lasted. I am looking at Fair Rosamond being a royal hostage of King Henry. There are many painting of Rosamond. My late sister was know by her middle name….
ROSAMOND
My nepher Cian was the modle for two Rosamond images. He is known as ‘The Garden Child’ ,I have photos of Cian in Rosemary;s bckyard in Reseda. I can make serval AI images from them.
Every day on the news I hear about AL taking over eververything – including the Art World! How about the ROSAMOND BENTON ART DYNASTY?
Below is one of the first inages I made from an AI grrmrtsypor. I used a actual phtograph of my grandson, Tyler Hunt. I cspyutrf
A REAL BOY
who is on the prowl. Tyler is practicing his hunting and exporing skills. He;s not a cute Momma’s Boy like the images of Cian. This is how my grndson – turned out.
Cian has one of the first paintings Christine Rosamond Benton did whie taking classes at UCLA. How perfect and amazing. Cian claims he planted thr first AI seeds. He has been annoinbted to
SAVE THE ART WORLD – AS HE SAVES OUR FAMILY ART LEGACY.
Tyler and Cian share the same DNA.
Several days ago Cian and I agreed we would file a police report, and he would call Shamus Dundon to see if he knows where Mark is. . He did neither, I got angry. To make amends, I want my nephew to treat me like a client with money, and put together a package and game plan. I want Cian to hire an attorney so it can be determined who owns the original Rosamond Art Legacy that was sol to outsiders. On this day I claim Benton’s portion.
John Presco
President: Rosamond and Benton Artworks
Cindy Blake was my girlfriend in 1969. I had known her since she was a baby. The Blakes lived next to my aunt and uncle, Dick and Lillian Molnar. Randy Molnar and Tyler Blake were best friends. When I went to visit my aunts when I was eleven, I came down with Whooping Cough, and Tyler and Randy had to get shots.
Harry Blake was Johnny Carson’s personal makeup artist. Cindy would follow in his footsteps. Harry had an older daughter, Kathy, who lived in Mendocino with her husband, who fished for a living. Cindy and I visited Kathy. She and her husband were Super Hippies who lived in a geo-dome they built. They sent Tyler two hits of LSD in the form of sugar cubes which he kept in the Blake family freezer for a year until I came down from the North in my annual visit. I ended up being a guide for several Valley Brats, and Tim O’Connor, the son of the actor of the same name.
In the photos above you see my sister-in-law, Patty, with my nephew, Cian. Patty was a good friend of the actress, Sue Lyon, whom my brother drove to Santa Monica City College where they both took classes. Cian is the model for two posters done by my late sister, Christine Rosamond Benton. ‘Garden Child’ was taken from these happy days.
Cian is jealous of me, in these shots, he not able to figure out who I was, and where I came from. His father and I did not get along. All the women loved me!
That is me with my grandson, Tyler Hunt, he the third generation of adorable children.
Jon Presco
http://variety.com/1998/scene/people-news/harry-blake-1117882412/
Makeup artist Harry Blake, who headed the NBC makeup department for 20 years, died July 16 of kidney failure at his son’s home in Northridge. He was 78.
During his 40-year career, Blake applied his makeup to some of the biggest names in show business, including Frank Sinatra, Dean Martin, Gene Kelly, Bob Hope and Ann-Margret.
While at NBC, Blake was makeup artist to Johnny Carson. When Blake retired, he was asked to stay on for Carson, which he did, until Carson retired from “The Tonight Show” in 1992.
He is survived by his wife of 52 years, Margaret; a son, Tyler; a daughter, Cindy Blake Palazzo, who is a makeup artist; and five grandchildren.
“I cannot teach anybody anything. I can only make them think” ― Socrates
San Francisco State University
Sunnyvale, California, United States Contact info
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AboutAbout
I have spent my career at the intersection of technology, intelligence, and innovation—navigating the evolution of software from idea to end-of-life, particularly in domains that demand synthetic intelligence. My work has spanned the full arc of modern computing: from the early days of silicon and the first SaaS service models to AI-driven security and observability. I have designed and executed projects at county, state, and global levels, contributing to the foundation of international exchange carrier networks and consulting on critical infrastructure like Y2K readiness.
I first worked with AI during the second AI drought of the 1990s, long before its resurgence in the mainstream. My expertise in AI has been forged through direct applications in security, real-time systems, and high-stakes operational environments—where intelligence isn’t theoretical, but necessary. I’ve worked extensively with synthetic intelligence to ensure that complex systems remain resilient, adaptive, and accountable. My background as a generalist allows me to see across disciplines, bridging gaps between computing, philosophy, and emerging technology.
Beyond my technical career, I have lectured on artificial intelligence, exploring its philosophical and ethical implications. My long-standing engagement with these ideas has culminated in my current work: a structured approach to AI governance and human-AI symbiosis through Reflective Intelligence (RI) and Process Rationalism (PR). These frameworks provide a way forward—one that balances empirical data, rational inquiry, and ethical alignment in AI and quantum computing.
Today, my focus is on ensuring AI serves humanity—not as an uncontrollable force, but as an adaptive intelligence that aligns with human values. By integrating quantum computing, AI, and governance models, I am working to shape a future where AI is not just powerful, but principled.
This is the next evolution of my work: bringing decades of experience across disciplines into a singular mission—making AI safe, coherent, and aligned for the future of our world.
Yes, the art world faces significant threats from AI, including job displacement for commercial artists, copyright/IP issues from AI training on existing art without consent, easy style mimicry/plagiarism, potential commoditization overwhelming human work, and questions about AI’s ability to capture genuine human emotion/vision, though some see AI as a democratizing tool and new medium, not just a threat. The core tension lies between AI’s speed/efficiency and the perceived irreplaceable human spirit in art, leading to debates over ethics, compensation, and the future value of creative skills.
As an Artist, the only issue I have with AI Art is the people who are controlling it and making a profit off of Stolen Art all over the world. Ai Art would not exist without the billions of Art it stole online. The program should be FREE for every Artist. They have the Nerve to Sell Stollen Art and charge you for the program. Once you can’t afford it you can’t use it and all the work you did will be stolen and shared. Now if you can own it and use it private offline and your work is safe, then it wouldn’t be much of an issue.
sf
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