Better than sex

When I am in times of dread

We all get that dreads

Imagine that instead

You are a cloud

And riding around

There is an amazing blue

Big beautiful days ahead

Sleep is heavenly too.



Light touches your eyes

From a loving sun

From a person who loves

To love your smile

Relax my friend

Please stay a while

And your fun 

Is all I want

Laughter fills the atmosphere

And I pray with a sense of generosity.



Picture yourself as a bird

Your wings are scarlet

Flying around above the ground

Soaring fast

Sun splashing in every direction

A great destiny ahead.




Sex is not done well from a food point of view

Yet when closely examined sex and food are closely akin

They are both bodily needs

So what does eating food have on the church

That sex so strongly does

Perhaps I must have lunch with a priest!



Oh so dry so barren

The northern desert is

Colder in winter than ever

You need a lot of sun

You need the loving sun

Take me into your sun beams

Give me the reality of my dreams!

In return in the world will move

All that was is good

Shall be

And ever was

Even in that simple vision

There is a world of mystery.




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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.