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Lost inside a room full of plastic, must I be in this? Must there be the door, the chance of never returning?!


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And the great lion lifts itself onto the high hill and roars, perhaps you hear nothing now, only rumbles, new sensations, pardon me but it is getting late.


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I watch the world go round and the play makes music all around are flowers and jesters yet there is solitude amidst the wacky world.


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It has been so long since 2004 and the world then, but I still wish upon that star.


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We men are tired of it, yea we are great, and we are men, or something like that, definitly grown from children, still eat my wheaties.


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It is in bravery that we change or change will do it anyway. To expect that a world can ease the pain. As if one shot of something is a healing gun. Riding backwards if not some fun.


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My work on poetry and fiction is hardly enough and by the end of the year a shot will be fired into the book stores.


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I don't want to post really don't

Now is the time to do other things in life

Life being a rather short time

Not strictly for advertisementality

A bit more visionary than money

I'm talking to you

You out there in Net Life

Your life in a blur

Forgetting who you are 

The basics of human life

And you must come on down.


My deepest respect for Lex and this message is for everyone.
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Holy than you!


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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.