Looks like the world is slowly changing.

Perhaps there is a new light

Shining like the sun

As if like a waste wink

And there is love?

Stranger than fiction.

Republicans working with Obama could prove very interesting.

No one is an anybody.

Why not?

I think I will try writing a science fiction story about the locals of San Francisco.

SUDDENLY I HAD AN IDEA!

Zoom love xoxo love zoom

Every human is truly creative and that is a fact.

Last I checked I was human, and the music played on

The tube full of longing

For the halls of science

Through the spot to erase

There to crush and break

It all takes time

To relax

And to fly into paridise

Rolling dice

Spinning opportunities

Drunk on something

Drunk on something

Drunk on something

Peace.

Thank you you..

Light Mystery

IS LIGHT THE MOST REAL THING WE SEE AND NOT WHAT LIGHT SHOWS US?

POETRY IS WILD NONSENSE

  And with the help of the poet it reaches a form of intellectual intensity.  The poet attacks the irrational then in his own writing, yet still loves poetry more than prose.  In other words he dislikes poetry and prose equally. 

  I can't find Shakespeare around to get his opinion.  We all know he did not change his ways too much in his plays.  That might have felt a bit dull, and the early masters he loved were poets, especially Ovid.  To verse or not to verse?

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.