The signal is in.

I feel lightening in my river of pee

Then the voice spoke and said

You will be blessed

I said thank you

Then wet my bed

In a fit of happiness

Even Goat was feeling good

Even the Ducks were happy

And Breasts were very bouncy

Lastly rat and mouse were playing!

Interests in my photography:

Making myself and others appear as scenery or material reality.

Exploring light as very much what gives presense to the material world.

To show the alonenes of the human condition and how unimportant humans are in someway and tragicomic.

Big is bigger.

The writing fingers

Triggered to wearing silk gowns

Homeward bound is unlikely

I weave anyway.

CANDLES IN MY MIND

Its winter time.  Smile child life is mild.

In the realm of a blue icle

Hold the warmth to your chest

Let yourself you are a best.

And do groom

Use extra cheese shampoo

For a new cheesier you

Featuring your best trait!

STILL A ONE STAR LIFE.

Oh the single star of it..

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.