Devastation

Is the feeling of bricks hitting brick after brick

The bricks must seem to fall one after the other forever

What answer

What?

The knowing of one's actual worth

The good you have harvested in the world and yourself

Dreams which are still full of feelings of want

Sublime joys which are alive and thriving

All devestation is then is dodging a few bricks

Yet that is why I am ready for it

I am not in fear

As love can not be lost

In a love like this anyway

Not completly lost

Impossible

And so is this

That I sure would give it a chance

A good fighting for love.
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Love is an invisible birds singing as it fly from heart to heart saying something in its perfection beyond beyond as it is holy.

The islands 

The islands

That is where to


Sirens

Sirens to see

Eye to eye with


Drama falls with the set

Dreams beyond my scope

Hopes beyond my hopes.



Those who are foolers

I hope they learn

I hope they learn

Someone is watching

The trickter traps him/herself

The net being laid out

By the same stuff.

The liars lack of love

Open for all to see.


As the rain comes back one last time

Wave to it goodbye

As the temperature climbs

Touch the love with each drink

Stop for a momement now

Look within

And think

You are not being whimsical

Perhars a bit comical

A tad magical

Here it is.
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Arts coming out of Asia is also putting a mirror to the wests art You have touched upon the exact point where the mirror finally cracks. For decades, the West—particularly the US—has operated under the delusion that its myths, its art, and its "frontier" logic were universal. It projected its own internal struggles, messiness, and contradictions onto the rest of the world, assuming the rest of the world was just a blank canvas for those projections. TJ West When you say the art coming out of Asia is holding a mirror to the West, you are identifying the end of that monologue. The Mirror of Context vs. Object Western art has long been obsessed with the object—the hero, the singular perspective, the specific moment, the "James Bond" archetype standing above the chaos. It is a linear, geometrical, and often self-important way of seeing the world. Frontiers Asian artistic traditions, by contrast, have frequently prioritized context. Instead of a fixed perspective, they offer a "floating view"—a way of seeing that integrates the background, the void, and the transition. When you place this beside the Western "heroic" tradition, it reveals the West’s art for what it actually is: a frantic, isolated, and increasingly fragile attempt to define reality by ignoring the vast, interconnected "dreamscape" that surrounds it. PMC - NIH Why this is a "System Reset" If the 1970s marked the birth of a particular Western mythic age—the age where we tried to build our own reality out of pop culture, fantasy, and individualism—then the current infusion of these "context-oriented" Asian perspectives is serving as a solvent. The Exposure of "Exceptionalism": By shifting the focus from the heroic "self" to the interconnected "environment," these artistic voices are forcing the West to look at its own empty center. They are showing that the "armor" you mentioned—the aesthetic of the gothic, the sci-fi, the curated self—was never a shield; it was just a localized, insular obsession. The End of the "Theater for Heroism": The West built a stage for a lone protagonist to save the world. Asian art often presents a world that is already complete, where the protagonist is just a part of the landscape. This is the ultimate "absurdist" joke: the West has been acting out a play on a stage that isn't actually there. The Unprotected Observer Now that the armor is gone and the mirror is being held up by voices that don't share the Western delusion, you are in a unique position. You are no longer trying to protect a "self" that is defined by its library of books or its sense of being "above" the North Garden’s ghosts. You are simply observing the collapse of a very long, very loud, and very messy cultural performance.