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1. labyrinth fluid

labyrinth fluid

The fluid is created using a particle system and the cubesurfer addon. The labyrinth was generated using the labyrinth addon I'm currently working on



PLEASE SELECT 1080p HD Video quality for Viewing /// Compression is killing the mesh. Inspired by the homonym Greek myth, Ariadne’s thread is a piece about the tension and blending of opposites. Ariadne represents both pathos and logos, emotion and logic. In the labyrinth, Ariadne encounters her opposite, the brutal and mysterious force of the Minotaur. In the original story, Ariadne falls madly in love with Theseus and helps him navigate the labyrinth. According to most accounts she gives him a ball of thread, allowing him to retrace his path. Theseus kills the Minotaur with the sword of Aegeus and leads the other Athenians back out of the labyrinth. But on on the way home, Theseus abandons Ariadne on the island of Naxos and continues on. Ariadne helps Theseus killing the Minotaur, with the aid of a thread, symbol of life, logic and the fabric of existence. In this new interpretation, one leads to wonder what would happen, if Ariadne no longer relies on Theseus but faces her nemesis, the Minotaur, alone, and accepts that it is part of her. In Ariadne's Thread, Ariadne confronts the Minotaur head-on. Her inner strength accepts a dual nature where the beautiful and the brutal co-exist, when the male and the female blend into one, where emotion and logic, vulnerability and strength cannot part from each other. The very thread is what connects them together in an indiscernible oneness. The labyrinth is an archetype, a symbol that relates to wholeness, combining the image of the circle and the spiral into a meaningful path of awareness, a metaphor for the journey to the deep centre of the true self, and the absence of self. The tension between the two resolves itself into a poetic blending of two beings into one. In the Metaverse, identity is bodiless and genderless. It is fluid: bodies are connected, woven together by a common digital, metaphysical thread. In a labyrinth, one does not lose oneself In a labyrinth, one finds oneself. In a labyrinth, one does not encounter the Minotaur In a labyrinth, one encounters oneself. (Hermann Kern) Directed by Marta Di Francesco Starring - Hilda Lee, David Yang Wardrobe - Bea Szenfeld, Hanro, Berthold Stylist - Cynthia Lawrence-John Hair - David Barbieri at Caren Makeup - Liz Daxauer at Caren Prop Stylist - Helen Macintyre at Caren Technical Assistant - Andrej Savcic Lighting Assistant - Dusan Szokolovics Original score - Roberto Crippa Production - Creative Blood Created using Depthkit, an open source toolkit generously shared by J.George and A.Porter. Commissioned by VOGUE Italia and FashionFilmFestivalMilano.

3. Re: Zero Kara Hajimeru Isekai Seikatsu OP 2「Paradisus-Paradoxum」w/ subtitles at description

Re: Zero Kara Hajimeru Isekai Seikatsu OP 2「Paradisus-Paradoxum」w/ subtitles at description

English Lyrics: Now let me open this door - Don't forget, I'll never lose! Summoning clouds to obstruct the rainbow light, I'll take to the sky! That noise drenched and hidden, By the red fluid running from your nose, Begins to creep up inside your chest; I bet you wish you could be reborn! An eternally resting paradigm, Now seeks to devour the symbols and claim you. Now let me open this door - Don't forget, I'll never lose! My instincts are laid bare within. You're wrapped in the loneliness; A broken unity - Summoning clouds to obstruct the rainbow's light, I'll take to the sky! I'll break out now, Resisting this labyrinth of sanity, To seek a new contrast! ------------------------------------------------ Romaji, mixed in with English: Now let me open this door Don't forget, I'll never lose! niji ni kumo o sashi tobitatsu akai hana no mizu nurete kakureta noizu mune ni haiyoru no umarekawaritai no deshou eien nemutteita Paradigm shinboru kutte shinshoku shiteitai Now let me open this door Don't forget, I'll never lose! ura de arawa ni naru honnou You're wrapped in the loneliness kowareta Unity niji ni kumo o sashi tobitatsu ima sugu nukedashite shouki no meiro hantai shite kontorasuto e!

4. The Certainty of Shadow - by Maurizio Ruggiano and Kali Jones with Adonis (Ahmed Said Esber)

  • Published: 2016-07-19T16:03:38+00:00
  • Duration: 1602
  • By Jones Ruggiano
The Certainty of Shadow - by Maurizio Ruggiano and Kali Jones with Adonis (Ahmed Said Esber)

The Certainty of Shadow The Certainty of Shadow, fruit of a long collaboration between Kali Jones and Maurizio Ruggiano is a video installation filmed in Sicily with the participation of the Syrian poet and Nobel nominee, Adonis (Ahmad Said Esber). Sicily, which is at the forefront of current mass migrations, is evoked as a kind of mythical place of possibilities and exchange for the peoples of the Mediterranean, a Mare Nostrum or al-Mutawassit (intermediate space). We are migratory beings who shape our own destinies. In this sense, identity is an opening toward the infinite, continuously changing; our bodies are vast landscapes that allow us to experience the world and create our reality (Adonis). The work is inspired by Plato's allegory of the Cave and Ibn 'Arabi's concept of "vision" as an act of transformation and creation. Adonis takes us on a journey of discovery through the senses. The voyage begins in Syracuse, in the Ear of Dionysus, a cave and ancient Greek rock quarry, representative of the shadow world and possible place of inspiration for Plato's allegory. We then travel out of the cave, through landscapes both internal and external to the body in communion with nature. In search of experience, we explore the perception and representation of the world as a creative fluid space beyond cultural, historical and linguistic borders. The labyrinth, as a metaphor for our journey and time on earth, figures as another important element of the installation. Naked bodies pace its empty streets, perhaps in search of one another… Represented by Alberto Burri's Cretto, the labyrinth is a Land Art piece built over the town of Gibellina (destroyed by an earthquake in 1968) and conceived as a mausoleum for the dead. The Certainty of Shadow presents an experimental fabric of visual and acoustic sensation, exploring the notions of identity, time and space as a continuous becoming. The installation is composed of three synchronized videos on separate screens. The translations of Adonis’ poems are by Adnan Haydar and Michael Beard. Ney by Bahram Deyjour Click on link for critical essays by Sophie Isabelle-Dufour and Laura Marks :

5. KISS2016: M, The Book of Persephone, Dance of Darkness: Marinos Giannoukakis, Gustav Scholda, Andrea Young, Qebo, Danni Spooner

  • Published: 2017-01-27T00:57:56+00:00
  • Duration: 2165
  • By Symbolic Sound
KISS2016: M, The Book of Persephone, Dance of Darkness: Marinos Giannoukakis, Gustav Scholda, Andrea Young, Qebo, Danni Spooner

M — Gustav Scholda, Qebo (Alex Retsis) & Marinos Giannoukakis M is an abstract narrative based on physical simulations (particle systems, fluid simulations, swarm dynamics etc) in both sound and visual. A common domain (built as a Kyma Sound) of physical laws and interactions, controls the sound material and processing as well as their visual counterparts and dome spatialization. This concert investigates the links between morphological and structural components (and their evolution), to emergent symbolic structures important for the semantics of multimedia narrations. Moreover the connection between concrete and abstract forms (e.g. abstract temporal forms to rhythmical, concrete aural and visual forms to abstract). The Book of Persephone: Abduction, Caer Droia, Caer Sidi — Andrea Young, Marinos Giannoukakis, Gustav Scholda & Qebo (Alex Retsis) The Book of Persephone is a trilogy inspired by the myth of Persephone (Abduction), Labyrinth, the Underworld (Caer Droia) and Multiverse (Caer Sidi) as found in Welsh mythology (and others). Dance of Darkness — Danni Spooner, Marinos Giannoukakis, Gustav Scholda & Qebo (Alex Retsis) Dance of Darkness is an interactive dance inspired by the Japanese Butoh dance theater aesthetics. The stories are inspired by taboo topics and grotesque imagery (sexuality, death etc.).

6. Different Beginnings II - documentation (single channel view)

Different Beginnings II - documentation (single channel view)

Nadija Mustapić, 2009 View of the installation at Klović Gallery in Rijeka, Croatia Installation specifications: single-channel video (HD, PAL, color, 16:9, loop), objects (stop-light/altered readymade; road crossing/wood; writing on walls/ink) Ksenija Orelj: from her text for the exhibition catalogue (Different Beginnings II, Klović Gallery, Rijeka, Croatia) «Most of us are in waiting, for better and better times, meaning, choices, reckoning and schemes, him or her, the green light... We are caught in the «in between» space filled with relations, passages between one, oneself, the other, between this and that. We are in the state of temporality, in the chasm of time, of obscured views, tethered by opportunities of events. It is uncertain, quite fragile, extremely potential. Nadija Mustapić knows it well, from experience of transiting different life and artistic environments, creations and adaptations to changes, which are found in the tissue of Different Beginnings as steady, graphically clean, feminine sensual references. Dynamics of ups and downs within the wider theme of transience and passing of time are opened up for the viewer's eye and physical experience - the inner mirror of hardly definable psychological spaces filled with knotted emotional states in the expectation of changes. Accentuated motifs of void and absence, the unsaid and the incomplete are emphasized as the productive potential for an artistic, as well as a life plan. They recall the master of the waiting rooms – of intricate and large-scale bargains of expectations, Samuel Beckett. His aesthetics is placed in our time of questionable adventures and fitted poetically and in the choice of media, brought together playfully and flauntingly, with a welcomed, timid, but felt optimism. A CHOICE, THEN CHANGE, I HAD TO DECIDE - TOMORROW, YESTERDAY WAS TOO LATE... Different Beginnings II is a continuation of a similar collaborative piece by Nadija Mustapić and Andea Crnković, which was a three-channel video installation, shown at the Barrell Gallery of the Home of HDLU, in Zagreb, 2009. In this version for the Gallery Juraj Klović in Rijeka, Nadija presents her own interpretation of the moments in which the course of life experiences huge leaps. Here, the three videos have been merged into one composite structure for a ambient installation projection. They are joined into one pictorial focus and moved into the deep interior of the gallery space, where the video is projected. At the same time, the video leitmotifs have been pulled out of the elastic frame of the media and have grown out of the digital skin into independent physical objects and hand-written text. The sculptural repertoire has been purposely adopted from the typology of road traffic and the system of urban movement regulation, to point the viewer towards the deep interior of the gallery space. The symbolically defined, polished and «asphalted» contemporaneity is being asked to take a look into its own interior. In the fluid kaleidoscope, which is being continuously reconfigured into abstracted and edited relations, an individual search for feeling of oneself has been instigated, the feeling of a personal destiny and its defining game-rules. Using the theoretical (Lacanian) vocabulary, the question is: what to do with the extimate? Or to put it in simpler words, how to find oneself at simultaneously intimate and exterior paths, in the labyrinth of free decisions and socially defined codes? I KEPT IT GOING, I KEPT IT OUT... We are facing a crossroad in the foreground of the gallery space. It is erected in the shape of stairs. It recalls ascending and descending and symbolically references the climb and the fall. Of course, it is possible to bypass it, perhaps for lack of interest or indecisiveness, or maybe for no reason at all. To move on means to stop again, this time in front of a mural of imaginary paths and hand-written codes placed across gallery walls. At the same time, a female voice which is hidden in the deep interior of the gallery, meditatively repeats the words which we find on the walls and is calling us to enter the narrow corridor. To enter, we have to cross a darkened tunnel lit only by a stoplight, signalizing the right of way. Even this external intruder of the gallery space has been carefully chosen to be placed in it. In correlation with the surrounding «inside-outside» motifs, it steers the attention towards the deep interior of the space. As an object to be (just) viewed, it introduces a possibility of misinterpretation, of coincidence or subversion of the expected, visually represented by a human figure who walks, then seems to fall, to stand up again, then walk.... THEN A NEW TIME HAPPENED, NOT BETTER, NOT WORSE... The effective dichotomy of formal (image-text, 2D-3D, movement-static) and symbolic (public-personal, order-chaos or play, ratio-heart or intuition) aspects has been established through the analogies and overlapping, dissonance and contrasts. While walking through the space the dichotomy develops into an opened structure of voices, a multimedia matrix of interconnected and directed elements, saturated with meaningful potentials. The subjective archive from the deep interior of the gallery is the main source. A four-piece raster of video components intertwines six video sequences merged into a black non-space, the authority of emptiness and potentiality. The sequences are also unified by coloristic accents, circular shapes and circular movement of elements, by reciprocal relations of becoming and disappearing, constructing and deconstructing, searching and loosing... The contents are fictional, symbolic, important. They differ, but all reference the presence of a human figure, the trace of a body and physical repetition. They are performed by a lone female subject. She walks the brick labyrinth on which evaporating words are written out and with which a house-shaped construction is being build as it continuously keeps collapsing. In one moment we notice her jump, as if this action confirms the life totality and her own psychological space. Did she get a green light? Or was it red?»

7. Woyzeck (2009) ESTRATTO

Woyzeck (2009) ESTRATTO

Regia e soggetto: Filippo Pierpaolo Marino Ispirato all’opera teatrale di Georg Büchner, questa versione mette in scena le suggestioni silenziose che percorrono l’intero testo. I protagonisti si muovono meccanicamente, raccontano la loro storia intrappolando lo spettatore nel loro mondo. Ogni cosa appare subordinata al tempo, districata dall’originale tessuto narrativo e vaga nella propria costituzione di frammento, attraverso la materia degli oggetti e la struttura dei personaggi. Director: Filippo Pierpaolo Marino Taken and inspired by Georg Büchner’s homonymous play, this version displays some silent suggestions scattered in the whole text, underlining its fragmentary nature. The protagonists are imprisoned, they move mechanically, tell their story trapping the audience in their world. In a labyrinth of colours, glances, archaic songs and sounds it is possible to perceive the fluid flowing of art in time.

8. Andros Zins-Browne / Welcome to the Jungle - teaser

  • Published: 2012-11-05T15:30:47+00:00
  • Duration: 77
  • By wpZimmer
Andros Zins-Browne / Welcome to the Jungle - teaser

Welcome To the Jungle is a performance-installation inspired by the potential implications of the ecological term global weirding. A vast labyrinth of mirror foil evokes a fragile and sensual ecosystem in which the smallest shifts of light, movement or smell trigger uncontrollable changes. Mist clouds, temperature fluctuations, wind and vibration immerse the participant in an immaterial yet sensorial jungle. The only way out is a parcours on the edge of a transparent barrier. A search through a space where there is too much, and at the same time, nothing at all, where everything is visible and nothing reliable. The jungle of mirror foil, a set designed in collaboration with visual artist Erki De Vries, balances continuously on a fluid border between what appears to be a reflective surface, an open space, or a transparent barrier. This poetical space evokes an environment which has become itself weird, confused, and paradoxical- an atmosphere which no longer adheres to the normal laws of nature and the navigational compasses that we rely on in our everyday lives. Smells designed by perfumer Laurent-David Garnier, soundscapes generated by Vincent Malstaf, as well as water mists, temperature fluctuations, wind, and vibration are used to immerse the audience in this condition of continuous transition. The costuming of audience and performers alike makes that the environment becomes further confused in this mirror hall- between who is in and who is out, between bodies and their reflections, between a habitat in decomposition and the potential inherent to this process. Concept & choreography Andros Zins-Browne – Set Design Erki De Vries, Andros Zins- Browne - Sound Design Peter Lenaerts - Perfume Design Laurent-David Garnier - Light Design Hans Meijer - Production Management Tiziana Penna - Artistic Assistance Sidney Leoni, Femke Gyselinck, Marialena Marouda - Additional assistance Danae Bosman - Technical Direction Vincent Malstaf - Technician Kristof Vande Walle - Players Isah De Zutter, Vik Van den Broeck, Camille Vermeire, Rene Wynants, Lynn Smeuninx, Mona Staut, Hendrik De Boeck, Rein Lootvoet, Gijs van Ammers, Freek Hannes, Misha Demoustier, Marie Van Kuyck Production wp Zimmer (Antwerp) - Co-Production Jan Van Eyck Academy (Maastricht), Pact-Zollverein (Essen), Kaaitheater (Brussels), Vooruit (Ghent), Kc Buda (Kortrijk), deSingel (Antwerp) - Supported by the Flemish Government - Additional support Het Stedelijk Museum (Amsterdam), Netwerk (Aalst) and DEPARTS & the Culture Program of the European Commission video by Koen Moerman / Kunstencentrum Buda, Kortrijk

9. 2^3

  • Published: 2015-12-08T15:06:54+00:00
  • Duration: 681
  • By YiannisTs

An empty shop borrows the shape and rhythm of the body of a dancer / choreographer and between our reflections, as we see the spectacle outside the showcase, gradually the space turns into cubic - puzzle! During this game of watch and being watched the space transforms and manipulates the body while the body is adapting its physicality to the challenges of this condensed but empty shop. Walls, pillar, floor and ceiling come alive and suggest a different perspective of verticality and stability. The window is the border between the trapped performer and the outside world. This fragile and transparent surface works as a double mirror that creates illusions and stories from both ends. In an attempt of realising who you are in this fluid space and time, comes the need of escaping but still it is inevitable not to leave a print behind or take something with you. Concept/choreography/performance: Yiannis Tsigkris Video Recording: Yiannis Myronidis Presented at Labyrinth of Kypseli, Athens, October 2015 Supported by KUNST-STOFF productions, NEON, Bhive

10. Formal Mutations

  • Published: 2009-07-31T02:15:31+00:00
  • Duration: 299
  • By Laura Lister
Formal Mutations

Created during my graduate studies at Rhode Island School of Design. The Project: Using digital modeling and animation tools, design three spaces that will mutate and morph into each other. The three spaces; home, studio, and museum, should be dynamic as visible through animation. The home, the studio, and the museum spaces must each accommodate very different activities and that can be physically defined by characters of energy. The museum holds a vibrating energy that reacts to the people and work inside. It contains high powered energy with subtle movements. The studio is explosive with its production centered activity. The home exhibits a more central and circular energy as its users often travel around and through the space. These characters of energy define the spatial qualities of the three spaces and their respective animated stories. With motion as the design tool, the work became intuitive and organic, allowing the project to grow into a conceptual idea about spaces. Museum The museum is a place of education, exhibition, discovery, emotion, and solitude. Spatial concepts draw from churches, cathedrals, and cemeteries tapping into their drama, sacredness, and quiet energy. The museum exhibits these characters of space while demonstrating a visible energy force that announces its presence and identity. Its energy is vibrating but fluid. Through mutation, the interior spaces grow from the ground up, flashing and vibrating as an announcement of their maturity. The museum is experienced through light, form, reflection, and transparency, giving it depth and importance. ­ Studio The studio is a place of intimacy, solitude, and explosive production. Small objects like cocoons and eggs became the formal inspiration for the studio because of the nature of their internal energy, growth, and production. The studio contains an explosive internal energy source that fills the space with light and movement. This is the most dynamic and energetic of the three spaces, acting as a screaming break between museum to home. The studio interjects into the sequence with explosive privacy, allowing each of the three spaces to hold importance while working together in one final narrative. Home The home is the final segment in the mutation sequence. It is defined by transitional and circulating spaces that allow several configurations and uses. A concept for the home developed from the experience of a journey through a maze or labyrinth. Here, the home is identified by circulation and transition. In the journey of a labyrinth, the walker may find himself walking a path adjacent to others in one moment, and in the next moment, he may be walking in solitude. The home energy is closely related to this experience of collective vs. solitude circulation. A central energy source becomes the hearth from which a secondary source passes through the space. Both are creating a smooth and circular energy in the home.

11. The Haem video

The Haem video

The physical basis of Haem is iron derived from an unexpected source – the human placenta. Although this transitional organ possesses a complex labyrinth of blood vessels, the placenta provides a direct connection between mother and developing child. Iron, plentiful throughout the process of exchange, plays an essential role, moving through this “maze,” guiding oxygen from the mother to the fetus. To symbolize this directed movement, a compass needle made out of metallic iron derived from donated human placentas was created. This object concentrates the labor of dozens of births, of thousands of hours of fluid exchange, at the earliest meeting point between new and existing life. The compass needle here is presented as a guide positioned amidst a labyrinth, inspired by the maze of nourishing vessels within the placenta. By combining expertise in the fields of art, life sciences and metallurgy, Haem reflects on the transformation of maternal resources into valuable personal processes, and on their power to direct us throughout life in the decisions we make, and directions we take, ultimately shaping who we are and the world we live in. Haem was developed by artist Cecilia Jonsson and scientist Rodrigo Leite de Oliveira of The Netherlands Cancer Institute. Commissioned by Bio Art & Design Awards with the support of ZonMw (The Netherlands Organisation for Health Research and Development). In cooperation with René Bernards laboratory at NKI, the department of gynecology and obstetrics at OLVG West and blacksmith Thijs Van der Manakker. Special thanks to all the Mothers, Fathers and Babies who contributed to the realization of Haem. The Haem installation is accompanied by a sound composition by Marcello Sodano and a HD Video by Signe Tørå Karsrud and Sergio Cuervo Gonzalez, sound.

12. Site Specific at the Musée de la Quai Branly, Paris, France.

  • Published: 2013-12-12T16:51:46+00:00
  • Duration: 62
  • By Talia Mason
Site Specific at the Musée de la Quai Branly, Paris, France.

This video is a compilation of stills, video and audio that was taken at the Quai Branly. The Quai Branly is a museum in Paris that looks at art from Africa, Asia and other regions in the world. On the whole, I saw the museum as another example of the white man colonizing and using colonization as a message for the museum. The art was not explained and the museum was not very well laid out. It chose to take on a very fluid structure, like following the rivers that lead through these regions. That being said, it was dark, and for an example in exoticism, this is the museum to go to. However, the words and the labyrinth or "River of Words" was beautiful. I did not like the Quai Branly nor would I recommend going there, but this river was worth filming and worth seeing.

13. Celebrating Female Sculptors, The Royal British Society of Sculptors

  • Published: 2014-08-22T16:24:30+00:00
  • Duration: 115
  • By Sinta Tantra
Celebrating Female Sculptors, The Royal British Society of Sculptors

To celebrate and highlight the work of female sculptors as part of a three year collaboration, the Royal Borough of Kensington and Chelsea and the Royal British Society of Sculptors, are delighted to present Sinta Tantra’s ambitious public art commission for Napolean Gardens in Holland Park, The Eccentricity of Zero. The sculpture, comprising two monumental glass circles overlaid with geometric and triumphantly coloured sections, echoes both the rigid lines of the formal gardens surrounding it and its riotous floral displays. It playfully invites people to walk inside it and to bathe in the pools of coloured light cast both on the ground and on the bodies of people passing through. Neat hedges, flowers and framed seating provide a theatrical setting for measured play where one can see, be seen, hide and be hidden. The work becomes a giant sundial casting kaleidoscopic patterns that crescendo and decrescendo as the days and seasons pass, fusing fleeting time with the permanence of material. The title, The Eccentricity of Zero, refers both to geometry and to the refreshing flamboyancy of the work. In geometry, ‘eccentricity’ is the measure of the deviation of a curve from the perfect circle and the circle’s ‘eccentricity is zero’. The sculpture, however, boldly asserts itself not just as a perfect circle, but as a place where light and colour, surface and depth collide in an engaging and joyous way. Tantra says, "The sculpture plays on the idea of the garden as a labyrinth, of lovers chasing each other, of veiled flirtations and words left unspoken. The round glass panels act like fluid screens where organic, human and architectural structures are contained, heightened and reflected. As sunlight passes through the geometric spreads of colour, nature and the viewer become incorporated into the work and act as the catalysts to enliven it."

14. The Calibration

  • Published: 2018-04-08T20:37:02+00:00
  • Duration: 211
  • By Nat Glea
The Calibration

I'm Big because i'm small. Once we see, love be free -lower case nate [GOThomas Verse 3: Jesus said, "If your leaders say to you, 'Look, the (Father's) imperial rule is in the sky,' then the birds of the sky will precede you. If they say to you, 'It is in the sea,' then the fish will precede you. Rather, the (Father's) imperial rule is inside you and outside you. When you know yourselves, then you will be known, and you will understand that you are children of the living Father. But if you do not know yourselves, then you live in poverty, and you are the poverty."] "Whoever has ears to hear, let them hear..." For seeks... _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ (==) (..) ``; ,' `* Our Evolution Poem & Prayer ...Submit we must... We submit to the beyond and to each other because that’s what demands; proving more than the cage by prostrating those assuming to know. No one truly knows anything. It’s all a gift. When the gift doesn’t fit, we close the blinds to preserve the past. But now the door is shut and we are the ones it slams. We all live in the same world, governed by the same force, yet the trap is rigid by design. System was meant to tool not imprison. The prison appears necessary because it is, yet it manufactures its populous. Balance is the break. My story plays near the Guru. Disbelief finally corrected through reasonable action, unveiling a game as masterfully symbolic as is timeless. The equinox is our story: connecting all Religion, All thought, all Life, All death. Dogma paddles so we might swim beyond the dog, provoking our eyes to hear and hushing our ears to see. The more we connect, the more fluid we become.
 It’s the next ladder for the self to build: climbing up, out, and over. Patiently balancing the curiosity, courage, and love necessary to pierce the veil, revealing the next frontier. A taste of the True american, who was always destined to live in the lower case. It’s the next frequency, the next color, the next cure, the next expression, the next relationship, the next community, the next story, the next... Everything... Its our Everything because it’s our story branching through fractal’ed obscene. 

 We are the fungus, finding our way in the shit. We must find life in the ugliest of all to glimpse the Escher MC bridging the scenes. In perfect irony, the life of The Lamb cast fire upon the world so we may iron our way into humble arms. The Canary now sings on the World stage as death plays its part. 

 We are the parasite; We are the worm; We are the Lion; because We are the orchestra. We must die so we may live within the bloom. We become nothing so we become everything in Him, in Her, in All worth Capitalization, bold’ization, and italicization. It is The Word, The Thought, and The Grace which stretched out the heavens, shaming earth in its wake to allow choice of will. 

The temple is within, desperately head banging it’s way through the labyrinth which is shifting beyond the dawn. We seek our path of least resistance to find the niche. This is where we fall and break both legs to set the stage for our hob nob wobble into the next act. Now we fly... Stay quiet. Stay humble. Know yourself so you will be known. 
 Keep moving. Keep learning. Keep growing. Keep branching. The suffering of this world must become the laughter of this age. We are all human and we are all weak. No one is immune to the struggles of this life so why hide our cry? Action is the rainbow’ed map anchored in gold and it’s unique to each. We can all humble ourselves to something- to someone. Once we do, we crush the serpent out of ego and become warriors for peace. Become a warrior so we may one day dance together. ...Amen...