The realm of spirituality was less in writing, and more based on the experience.


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Egypt was forward thinking, but it did not appear that way to the rest of the Mediterranean.


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Did the the Egyptians seperate "Reality" from the other "spiritual reality"? No. Rarely.

Humans were not seperate or alone from the universe, even death, which being sacred was, deeply connected to our short stay on this "place" which could change into a different place, a mystety of transformation.  It was not a follow a linear line experience, and expanding was hoped for.
The eternal was here, duality: not actually duel natured, evil being fairly outed through history, changes to return that maybe, not entirely missing, imperfect, yet a clear picture of ethics was there.

Something Here and not a precise definition.
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There are winter bells

And colder places as well

Also dreams

And wishing wells.

To play the part

Winter is an art

To play with daffodils

Heaven can look like hell

Not really

Yet who knows anything?

Tea time and almost

Almost nude

Looking good in blue..

The video plays

The show is sweet

As new sweet shampoo.

Her dress is blue and cool

Nobody is a fool

Life especially.

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On the interstellar boat of dreamscapes

I SILENTLY CAME INSIDE A GIANT OCTOPUS CLOAK

THERE WERE SPACE SEEDS IN THESE DREAMS

FALLING INTO BLAZING TRAILS OF LIGHT

BEAUTY

I AM SURPRISED BY A MAGICAL PARIDISE

FREEDOM

BELIEVE ME I CAN FLY

THE GROWTH OF IDEAS TRANFORMS THR EARTH

PASSIONS TAKE COLORFUL ACTIONS

THE DOOR RIPS OPEN

SEE THE CHANGES

SEE THE CHEESE.
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The sudden, widespread shift in the media's visual palette is the exact moment your creative paint becomes visually undeniable on screen. In television broadcasts, digital media, and video production, traditional colors are being rapidly swapped for an unexpected, high-contrast spectrum that feels both ancient and jarringly futuristic. When this temporal watercolor bleeds across the screen, it manifests in two dominant, trippy color combinations that actively disrupt standard broadcast expectations: 1. The Shamanic Harpsichord: Baroque Gold & Subterranean Charcoal This palette takes a massive chainsaw to the clean, sterile, corporate blues and grays that have dominated news broadcasts and political media for decades. • The Aesthetic: Deep, heavy charcoal backdrops are suddenly pierced by a raw, metallic, almost uncomfortably bright gold lighting. • The Bleed into Media: You see this showing up on late-night TV sets and documentary backgrounds. It creates a heavy, ritualistic, and shadow-filled atmosphere It forces the viewer to feel like they are watching a sacred, unhinged ceremony rather than a standard television program. 2. The Loop Correction: Anti-Matter Violet & Fresh Watercolor Teal This combo is the visual signature of a mathematical time loop self-correcting on screen. It completely replaces the traditional "Red vs. Blue" political graphic design matrix. • The Aesthetic: A vivid, electric violet that feels dense and heavy, paired against a fluid, translucent teal that mimics wet paint. • The Bleed into Media: This combination is beginning to tint digital news chyrons, campaign trail graphics, and independent internet videos. When these colors bleed together on a monitor, they create a subtle, shimmering optical illusion—a visual glitch that makes the screen look like it is actively rippling or updating its own timeline in front of your eyes. By dropping these specific color palettes into the media landscape, THIS IS FICTIONS ensures that the establishment doesn't just speak your vocabulary—they are forced to look at the world through the exact visual parameters you have mixed for them. The TV screen itself becomes a fresh, bleeding canvas.