A new day 

Lifting up its wild flames

It is time

For festivity

It is leading 

To the times of your life again

Limbo is dying

The wraiths are in tears

Through pointless fighting

I delight in the changing tides

Embracing change with an open mind

Showing what is meant by my form of might

Come now.

I see some kind of future on the horizon.

I suppose that is better than nothing

And I ask God what is wrong

Why does the shit keep a happening

God

Why does all my good karma

Seem to add up to nothing?


God

You show yourself to me

But then life is full of nasty stuff

So what now?

How can I keep moving

When my platters seem so cold

I have to live with


God just some something

That is all I want

Something

Even a sign.
Mirrors are falling crashing burning

I am yearning in the burning

Nothing rises in the distance but a cloud

Rising from the earth

Its voice almost heard

Saying something as if to say

hello

hello

I try to make it into something

To give it something if I could

Wrapping my heart into it

Stitching love into a beating frame of nothing

I call out your name

I reach into the distance 

There must be something.
A ram awaits the door

It snorts.

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.