There is some progress, like a miracle..

And you thought death and destruction were coming

That the end was coming and all was doom, doom, doom

Well hold onto your brains for just a second

The saints are marching in!


You are not reading my mind exactly

Been so out of time and here I am

As if I had seen Bill Hole himself!

I am a believer in him

As I know he will be okay

He will not get very hurt or anything

Nothing serious for sure

I know everyone is a bit concerned

I think he is in Montana right now

I would do anything to see the look

To see him and his smile

Nobody smiles like that anymore

Send him your prayers

And I will get back to you soon!

There is nothing there.




All is well that ends badly for everyone?



The science..

There might be nothing real outside our solar system.  Then what is there?  Pictures to amuse and delight us.  Then what are we?  We are simple animals.  Impossible!  Perhaps you missed the boat you stupid goat.  I am no goat, I am a modern human.  I resent that!  How do you know for sure!  I know nothing except what is fact, by truth, is it not obvious!  So obvious that you are imagining something right now.  Something like a baby in your arms.  I can do you no harm.  Yet what of the sun and the moon?  Oh, that is the movie projector and beyond that are more.  Do not talk to me anymore.





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.