-Can’t start a scene? Write the setting instead. What is the lighting like? Is this place comfortable? Is it familiar or not? What should you point out now so it doesn’t suddenly appear when it becomes important for the characters? SET! YOUR! STAGE!

-Everyone says “show, don’t tell”. I like to think of that as “what are your character’s physical reactions? What are they feeling?” You can say “Character looked dismayed”, or you can say “Character grimaced with dismay.” See the difference?

-Struggling with dialogue? Talk to yourself while you’re writing. You might be blocking yourself if you subconsciously think some dialogue feels unnatural.

-Context, context, context! This applies to everything from the small interactions to the big plots. Every force has an equal and opposite reaction, allow interactions and events to grow as such.

-Context, context, context pt 2! But worldbuilding! If your character is performing an act, how does that fit into the physical reality they already exist in? How is it possible? Can you imply (imply, not explain) that these things are commonplace or why they wouldn’t be?

-Build the action. (Stealing this from theater class like twelve years ago.) You can’t just put a character into the scene and say ‘they made a sandwhich’. What has to happen for the sandwhich to be made? Your character has to walk into the kitchen, open the cupboard, get out a plate, get out the jam and peanut butter, get out a plate, get out the knives, open the fridge, get out the bread, close the fridge, open the bread bag, lay down two slices of bread on the plate, close the bag, open the first jar, pick up the first knife, scoop up the jam, slather it on the bread, put the knife down, close the first jar- and so on and so forth. Every small step is necessary for you to understand, and to engage your readers. You don’t have to go into ridiculous detail like I just did, but even understanding that for yourself.

-See above, but it’s not a scene and a sandwhich. The scene is your whole story and the sandwhich is your plot. What small steps MUST happen to reach the climax? Does changing one of those small steps change the result? How?

-Emotions are best portrayed when you have experienced them or can get insight from those who have experienced them. Let yourself get emotional in a scene. Allow yourself to be empathetic and vicariously experience what your characters are.

-Reread your own work! Your writing style and characterizations can change over time, but if you feel like you’re losing them, don’t be afraid to look at where you started to ground yourself!

-Proofread your own work 2-12 hours after you finish a section! Not while you’re writing! Don’t let yourself get carried away with writing things ‘right’, just get the ideas out.

-Have a friend or volunteer proofread for you too! This can help pick out things you repeatedly say, words you might misuse, grammar and punctuation that might need correction, and phrases that are hard to digest or don’t make sense.

-Make sure you’re making an effort to use regionally/era specific words and slang both in dialogue and in your writing. There are plenty of websites and videos online that list and discuss regional and era slang worldwide. Not to mention, we can connect with people all over the world using the web just to ask! Using incorrect phrases can really break immersion and make characters feel- well, out of character! I.E. an 80s jock saying ‘dope bruh’, American characters (generally) saying ‘lift’ instead of ‘elevator’, so on and so forth.

-Research research research! Research bloodloss limits, research how laws and jobs operate in different regions and countries, research weirdly specific myths and biblical themes, research as much as you can! You can only build a richer environment to write in!

-If you actively want to implement themes, allow them to reflect the experiences of your character. Example character is an Italian American who was orphaned at 13 after his orthodox Catholic parents died, he has been in and out of foster care his whole life, and the moment he got out his military job became strict and he allowed himself to be blackmailed to protect a child in a similar position. This has plenty of fun themes and symbolisms, like sacrifice, fate, lack of control, love, losing autonomy, etc, all of which can be framed under the impactful history of his Catholic childhood. This evokes the imagery of farm animals, servitude, animal tags/dog tags, holy spaces being used for other purposes. Play with it!

-Build three base playlists! One for your overarching story, one for songs that remind you of the main character and their story arc, and one for how you feel when you’re writing/songs that weirdly remind you of your story. You can cycle through these to help get into your mood.

-Consume other media! If all you do is focus on writing, you WILL lose steam and inspiration. Don’t be afraid to watch new shows, read new books, look at more artwork, read more poems, listen to more music. You might get a flicker of inspiration for themes, motives and ideas, and you’ll continue to fill yourself instead of dumping your focus out on your writing.

-Understand how each major character thinks and instinctively reacts to things. Some characters can stay calm, but others might instinctively react to things ‘angrily’, others might try to run away. This is an easy way to figure out character flaws and impliment easy conflicts.

And last but not least:

-Take breaks! Don’t worry about forcing yourself to keep a posting schedule (unless you’re being paid. I’m not. I’m doing this shit for free and for funsies) if all you do is spend all your time worrying about your writing, you won’t be able to relax your brain. Spend time with friends, play games, go outside!

I am an artist, or I guess something of the such, I write and paint and read and devour art with a longing lust.

But lately I am messy, maybe I always have been; I can’t count how many times I’ve been caught with flecks of paint buried under my nails or charcoal smudged on my skin.

Even when messy, I know what I want to do. I want the mess I create to be something beautiful; art asks for us to take tragedy and transform it into something the masses can relate to.

So, I’m smashing perfect tiles to create some new mosaic but, it all is just starting to look eerily similar to the normal messes I make.

The shards of ceramic are askew and won’t sit how they should, so now I’ve got this frown on my face tugging down and taking with it everything that makes art feel good.

But, I see it in the shards and shapes, right there is a trail of every single idiotic mess I have made.

It’s all the drunk kisses that leave my lips bruised, or the weeping tears to be a version of myself whose ribs protrude.

It’s ugly and never looks how it should; it’s throwing daggers with my tongue at those I love to see if they come back, even if they’re staggering from their wounds.

I am an artist. I create all the time but, it’s not always pretty pastels or delicate little words spoken with a small smile. It’s messy and cruel, which are two traits that stick to me like tar.

Because I am an artist, and I have mastered the art of fucking up as well as the stars have mastered dancing in the dark.

"Abstraction is flying. Abstracting is ascending to higher and higher levels of conceptual generalization; soaring back and forth, reflectively circling around above the specificity and immediacy of things and events in space and time, from a perspective that embeds them in a conceptual framework of increasing breadth and depth, a framework without horizon, ceil-ing, or basement; a framework composed of increasingly comprehensive concepts that generalize over increasingly comprehensive classes of things, organize them relative to one another, unify them into a coherent tapestry, a dizzying object of contemplation the details of which stun one into panic by their connectedness, significance, and vividness.

Abstraction is also flight. It is freedom from the immediate spatiotemporal constraints of the moment; freedom to plan the future, recall the past, comprehend the present from a reflective perspective that incorporates all three; freedom from the immediate boundaries of concrete subjectivity, freedom to imagine the possible and transport oneself into it; freedom to survey the real as a resource for embodying the possible; freedom to detach the realized object from oneself more and more fully as a self-contained entity, fully determined by its contextual properties and relations, and consider it from afar, as new grist for the mill of the possible. Abstraction is freedom from the socially prescribed and consensually accepted; freedom to violate in imagination the constraints of public practice, to play with conventions, or to indulge them. Abstraction is a solitary journey through the conceptual uni-verse, with no anchors, no cues, no signposts, no maps, no foundations to cling to. Abstraction makes one love material objects all the more."

--Adrian Piper

What I thought that meant: telling us about unique sculpture materials and paint mixtures.

What that actually meant: an 84yo woman gingerly holding a beautifully beaded and embroidered dress (apparently from Ukraine and at least 200 years old) and, with tears in her eyes, showing how each individual thread was spun by hand and weaved into place on a cottage floor loom, with bright blue silk embroidery thread and hand-blown beads intricately piercing the work of other labor for days upon days, as the labor of a dozen talented people came together to make something so beautiful for a village girl’s wedding day.

What it also meant: in 1948, a young girl lived in a cramped tenement-like third floor apartment in Manhattan, with a father who had just joined them after not having been allowed to escape through Poland with his pregnant wife nine years earlier. She sits in her father’s lap and watches with wide, quiet eyes as her mother’s deft hands fly across fabric with bright blue silk thread (echoing hands from over a century years earlier). Thread that her mother had salvaged from white embroidery scraps at the tailor’s shop where she worked and spent the last few days carefully dying in the kitchen sink and drying on the roof.

The dress is in the traditional Hungarian fashion and is folded across her mother’s lap: her mother doesn’t had a pattern, but she doesn’t need one to make her daughter’s dress for the fifth grade dance. The dress would end up differing significantly from the pure white, petticoated first communion dresses worn by her daughter’s majority-Catholic classmates, but the young girl would love it all the more for its uniqueness and bright blue thread.

And now, that same young girl (and maybe also the villager from 19th century Ukraine) stands in front of us, trying not to clutch the old fabric too hard as her voice shakes with the emotion of all the love and humanity that is poured into the labor of art. The village girl and the girl in the Bronx were very different people: different centuries, different religions, different ages, and different continents. But the love in the stitches and beads on their dresses was the same. And she tells us that when we look at the labor of art, we don’t just see the work to create that piece - we see the labor of our own creations and the creations of others for us, and the value in something so seemingly frivolous.

But, maybe more importantly, she says that we only admire this piece in a museum because it happened to survive the love of the wearer and those who owned it afterwards, but there have been quite literally billions of small, quiet works of art in billions of small, quiet homes all over the world, for millennia. That your grandmother’s quilt is used as a picnic blanket just as Van Gogh’s works hung in his poor friends’ hallways. That your father’s hand-painted model plane sets are displayed in your parents’ livingroom as Grecian vases are displayed in museums. That your older sister’s engineering drawings in a steady, fine-lined hand are akin to Da Vinci’s scribbles of flying machines.

I thought we'd passed through it

I thought thing's going back to normal

Thought our scars were healing

But I guess I was wrong

After so long

After all this time

After I tried my best to

Show you everything's fine

You brought him back

You thought I was talking about him

When all you could think was that

I wanted some time alone with you

There was no context for you to

Bring him back

But you did

You thought about him asking me to

Go to a motel with him

But everything the context told you

Was that I'd like to go to a motel with you

And spend quality time with you

I'll not deny that

You bringing him up again

Hurt me

I just want to overcome it

Just wanted to leave it behind

Like it never happened

But you had to let your insecurities speak

Louder than reason

And now here I am

Writing about it

Because I can speak to no one

About it

I encourage you to have a seat and read this little ‘essay’ I wrote back in 2014 if you really want to understand what I’m doing today. I would be really grateful and I’m sure you’ll have a much better understanding of my whole work.

Digital walls, but walls

On the way to space and public art | came across the digital walls. They can be “painted” but they also have the function of limiting, of delimiting, of separating…

A change of paradigm has been happening for some years now with the arrival of the internet, which has completely changed some aspects and concepts that have to do with the world of art and more specifically with urban art or public art. From the beginning, this type of art has been carried out in public places with the aim of being observed by anyone on the street and thus making it free, accessible and free from any premise or institution when it is created. (not considering the “warlike coexistence” with the advertising).

The appearance of the Internet has changed it. A vast majority of the art is seen online on a screen, what questions that the street is the natural canvas of this art discipline. While it is for the one who creates the piece, it is almost never for the one who looks at it. Public spaces are no longer just physical, in the same way that the plastic arts are no longer just plastic.

Due to the access to technology and its cheapness, nowadays it is inconceivable to think of art without considering the whole digital sphere, whether as a tool, a method of creation or of dissemination. But at the same time, all these centuries of art history condition the understanding of art, sometimes acting as a burden in terms of understanding what art is.

The dragging of already preconceived ideas and the weight of the genetic inheritance makes us repeat concepts about what art is and was. In the face of such a rapid change of paradigm, it seems that we find it difficult to understand that this whole new digital world is still the world. Both virtual and augmented reality are also reality, but the fact that it is appreciated through a screen sometimes causes it not to be considered as something artistic or even real. Thinking that way we could say that looking at a piece of art on the Internet does not have its complete experience, since we are not seeing it in the place for which it was devised, and neither are we perceiving it in a direct way, but with a screen as an intermediary. But at the same time, I think about all the content that we consume today with these devices - movies, series, photographs, news, and even art, current and classic - and not because of that we think or say that they are unreal.

At this point, where the analog space merges with the digital space, a new artistic expression is born that is entirely digital, where the final piece is born and ends up in the digital realm. Conceived through digital tools and deposited in the public digital space. These pieces of art suggest skipping the step of "existing” first in the ‘real reality’ to reach directly the virtual reality, which is also reality, and once from there, to have an impact on the analog reality.

It would also be curious to reflect on the parallelism between urban art and digital art, since, being in public places, both are susceptible to being stolen, altered or appropriated by other people for different purposes. And also, on the idea of anonymity, always used by urban artists to be able to work in the street without risk of infringement, and now also used in the digital environment. Either by often using copyrighted content that we find on the web (street 2.0) for an artistic purpose or by the “erosion of sharing” in which at some point someone does not credit the work, but it is still shared. In this case there should be a new word to define those people that everybody knows, but nobody knows who they are. “Famonimous” characters or the concept of “famonimity”; people or artists who are known precisely because they are anonymous.

Since the beginnings of urban art, the idea was to use public space to express oneself freely, but we must bear in mind that public space is nothing more than the remainder of the space divided by the private, the “leftovers” after the developers pass, the worthless places left open to the common people by institutions, etc., etc….. With the change of social, technological and artistic paradigm, urban art has been normalized and is now used as a method of decoration of places in poor condition, as a complement to a public road or simply as a means of open artistic expression as it has always been. Because if the initial objective was to make art accessible, direct and open to everyone, that idea has moved to the internet and, in some ways, the radical idea of urban art would no longer have that sense.

Therefore, if we understand urban or public art as a type of art accessible to everyone, free of charge and without any kind of condition, | believe that digital art fulfils this role today, since it inhabits all public places, whether analog or digital. Urban art needs this digital sphere to be able to expand and be visible. Because nowadays most urban art is seen through screens, not in the place where the piece has been created, which makes all these works more accessible to everyone at any time. And so, the ’paradox of the graffiti artist’ is born, the one who expresses his freedom in the walls that imprison him. These walls generate private spaces and what is outside them is considered public space by the mere fact of being spaces where people pass through. But it does not mean that this public space is open to intervention. Every public space is under the supervision of a privative entity, whether it is a municipality, a company or simply, the property of an individual. Public space does not exist, neither in the ‘real reality’, nor in the virtual one. It is always subject to something superior that manages it.

Within this dilemma, augmented reality becomes another alternative to the path of public art. It gives the possibility of creating art in public spaces, only seen on digital devices, and using the ‘real reality’ as the piece’s canvas. Until recently, photography and/or video were methods of capturing reality. Now, with this change of prism, these disciplines moved from being the purpose itself, to becoming raw material for the creation of other new artistic expressions. In this direction, | want to focus on the gif format. This format is strictly digital, so it gives us the option to edit, to add movement to pieces that, before, condemned to live still. We can spread in on the Internet and make it accessible to everyone at any time. When adding augmented reality, the two concepts intertwine, urban/public art and digital art, what gives rise to new artistic expressions that call into question deep rooted concepts such as museum, art and reality.

There are already many centuries researching, testing and creating the same type of art, whether sculpture, painting…. Except for the birth of new “isms” within these disciplines, it gives the impression that they are exhausted. At this point it would be convenient to think about the idea of unique work, copy, forgery, recreation… Thinking about the evolution of art we must consider that all new progress is born of the technological options that occur in each era. Nowadays, the difference is that progress happens every day, very fast, and it seems that it is difficult (or unwilling) to understand this change because of the speed of it. This cultural and genetic heritage blurs our vision and sometimes prevents us from conceiving new artistic expressions as such, since there are no previous references to support them.

But, at the end of the day, every new artistic expression, in its beginnings, was not art. “Science develops ideas that come from art that is inspired by science.” The world of classical art enjoys an aura of untouchable deity because when we are born it has always been there, but we cannot forget to think for a moment with perspective that all this classical art was created mainly by the entities of power of each era: kings, church, political powers…

This is why today (without underestimating the technique and the work of the artists) these types of classical art enjoy an invulnerability as, in the end, it was created by and for the power itself.

Then, this type of art collides with the urban and/or public art, along with digital art. In the public and digital space those who decide what is "art” are the people.

I am sure that the first Cro-Magnon who used a tuft of horse hairs instead of his own hands to paint was seen as an art/magic/belief apath.

Now we live in a new paradigm shift, but in this case it is not local or national, it is global and immediate.

may you never go to bed unloved while being in love. there are a million things in the world that are supposed to hurt but love isn't one of them and yet i see it shape wars and weapons and demise and despair. lucky for me, sleep never comes to me, so this can never be my reality. for how does one go to bed unloved when they never go to bed at all?

if you have been consuming manifestation related content for a certain amount of time, this principle shouldn’t be that unknown to you. in both communities, law of assumption and law of attraction this concept has been taught. but why is it so important? it is really that much of significance?

definition.

to repeat means to redo or replicate. with regards to manifesting, it refers to repeating a specific sort of statement which we call "affirmations". therefore, the phrase "repetition creates belief" indicates the repetition of affirmations.

purpose.

repetition is a form of controlled and conscious thinking. it's a way of introducing yourself as well as identifying with your affirmations. with repetition, you regularly remove old beliefs that no longer satisfy you and replace them with beliefs that do serve and also benefit you. ultimately, it's a practice that's supposed to assist you in entering and remaining in the state of the wish fulfilled, persistently thinking in your favour and constantly constituting a new, desired version of yourself while changing old self-conceptions.

thought ➜ act of repetition ➜ belief

although repetition is supposed to help changing self, it’s not the repetition act itself that does. it’s YOU. repetition is only there to guide your thoughts. however, it’s up to you if you accept your new thoughts or not.

logic.

the reason why repetition helps you change and create beliefs in the first place is because through repetition, you form a feeling of naturalness. you build a feeling that becomes habitual, a feeling you can confidently return to, a feeling that's slowly starting to feel friendly and familiar, a feeling you learn to recognise and relate to.

furthermore, repetition leaves no room for opposing thoughts as you direct and dictate which thoughts you want to place your attention and awareness upon. it takes up all the space that was once dedicated and devoted to insecurity, confusion and uncertainty. it naturally defeats feelings of fear and fright while also refuting former beliefs. in addition, you become indifferent to the attainability or achievability of your desires as you cease to classify and categorise them into "realistic" and "unrealistic", "possible" and "impossible" or "logical" and "illogical"

forms.

generally, there are two ways of repetition. repeating (or affirming) from abundance and repeating from absence. in the first case, you declare from a state of acceptance and confirmation. in the second one, you declare from a state of denial and rejection. one is done aware or consciously, the other is done unaware and unconsciously (also "vainly").

the reason why i believe that stating something in vain is inconvenient is because it’s an empty expression, and not embodiment. manifestation is done in consciousness since consciousness is the only reality and consciousness creates reality. there is no underlying sense of identity. no identification. no change of self. and the only thing that can change reality is self. only through a change of self, you cab change the world around you.

examples.

repeating one time · "hm, i don’t really know about that…"

repeating ten times · "oh, i'm suspecting i may be right."

repeating hundred times · "yes, i am absolutely correct!"

what felt really impossible and illogical to you at first will start to feel more natural and normal until you have finally accepted it to be entirely true. that’s when it becomes a definite part of your identity and who you claim to be.

When I ask people not to steal my scans I assure you it has nothing to do with my ego. I have relationships with a number of people that trust me to provide full credits and copyrights and supervise, as much as possible, how things are used. And it gets a little complex, like some people will give me a photo I can only use on instagram. I have to honor these agreements.

And, Rothko paintings are copyrighted so, unlike some artists, if you make tee shirts or use it in a movie or something , it's actually illegal (without permission) They are not going to come after you for casual use of you own, but I know of many examples where people were hit with a copyright notice for trying to profit in the work.

It took me a long time to build these relationships and get all of these scans, including many i have done myself. I gave myself this Rothko job I do, and because of that I didn't have background to give me things or answer questions. It was only after years of doing it that people started to reach out to me in a bigger way and help.

The art world is strange, I was talking to a museum curator recently and there several questions I had that I was told they were not at liberty to answer. In the case of Rothko, there's nothing really cloak and dagger about it, it's just the family (who I think are great) fought really hard for these rights and spend a lot of time trying to control how the work is used and seen. It's a good thing because we get things like the Paris exhibit which took an insane amount of planning, loans, insurance etc. All the paintings had to be inspected before they were shipped over seas, in case damage was done to them over there. These paintings are BIG and in the hands of many different people, so it really took tons of effort and (sadly) money to do it, but it's something like (can't recall exactly) 179 paintings. The biggest Rothko show since 1978.

People on tumblr do sometimes (as we all know) take stuff from here or from my other social media accounts and I know it's typical social media behavior, as people like the credit and notes to their own blog, but I mention this now because I have some things coming up that almost no one has ever seen and I don't want to lose this privilege because I won't be able to show you cool stuff and big scans.

So, sorry for the ponderousness, I just thought a little background might explain that I'm not just being grumpy about it. I think people may see it as "It's the internet get over yourself" but I honestly feel a responsibility to do the best I can for people following these accounts and I am just trying to keep doing it and hopefully, expand as I go.

This blog started on out tumblr and it was the support of all of you that made me continue it, I will be 10 years in July. I can't take a lot of credit for it, it's not my art. My only idea was the once a day aspect. However, I try to do my homework and striving for accuracy is part of that, including copyrights and credits.

So even if someone is technically/artistically able to create something on the level of a gallery piece (and, to be honest, I think substantially more people have that ability than anyone would be likely to admit) they do not exist in an environment where they have the financial freedom or recognition for that to be possible or worthwhile.

I assure you that there are millions of people who absolutely could and would want to make Pollock style abstract paintings or giant time-consuming sculptures made with garbage or whatever, but they're currently stuck in a low wage job and if they quit in order to make their masterpiece then nobody would bat an eye and they would go broke because they wouldn't have the sociocultural weight to impart that special numinous reverence that "high art" is granted, and which makes it financially viable as a thing to spend your time doing.

It is also true that a lot of people who have that cachet are able to spend their time making pretty much whatever, and will still be able to support themselves even if the art itself is fairly mediocre outside of the time dedicated to its creation.

i didn't mean to make my grief too loud.

my pain is beautiful

only when you don’t have to see it

only when it made me strong

only once its healed 

and you don’t have to see 

the mess it made me.

sorry for taking up the space

you thought was yours

with all my heavy thoughts 

and impenetrable experiences.

my pain is beautiful 

only once it's better

only when you don’t

have to look it in the eye.

i am loved

only when I am silent

only when I am the one

shining the light on you.

so sorry

that it got the best of me this time.

so sorry.

so sorry.

truly, 

my deepest condolences 

for the grief that isn’t yours

but is still somehow

Okay, for those of you who may be confused let me explain. So basically, i woke up today in a strangers house with no memories. adding to that, this wasn’t just any house, it was a giants house. Obviously i was freaked out when i woke up underneath a ginormous couch with nothing but my clothing, which looked worse for wear.

I had foolishly assumed that I was alone in the house, and got reckless while trying to wrap my head around the situation. I ended up getting spotted by the giant that resided in the house and they caught me. Fast forward past a bunch of struggling and injuries on my part and here we are. A giant is warming me about the sting of antiseptic as I struggle to keep my breathing sound. His hand, which is about the size of a car, steadily approaching.

He doesn’t wait for me to give consent before dabbing an alcohol covered q-tip on my fresh wound. I let out a yelp and curl in no myself. My breath starts to grow ragged, as the stinging in my leg grows more and more noticeable.

“S-sorry little guy, but we have to make sure it won’t get infected” I feel a warm plush finger start to rub my back, in an attempt to calm my anxiety. Unfortunately for them, I haven’t had the best experience with giant hands since I woke up here this morning. I flinch away and try to curl into myself further.

My body starts to shake as I feel tears prick my eyes. The stinging has subsided minority, but now I’m more focused on the looming giant. I just need space. Why won’t they leave me alone. They keep making things worse. Just go away. Go away. Please please please just go away.

They touch my head again, ruffling my hair roughly. I yelp back and finally snap.

“PLEASE JUST LEAVE ME ALONE!” My voice sounds odd to my ears. Not how I had expected it to sound. It’s watery and cracks on certain vowels. I feel the hand flinch back at my comment. The giant hesitates before speaking.

“Y-you can actually…talk..?” He seems unsure of the proper response. I assume he didn’t think I was sentient, or at least that I didn’t speak his language.

I ignore his question, which seemed more like a shocked observation than anything else. I look up at him and for the first time today, I look him in the eyes. I’m shocked with how sorrowful they look, he seems so sad. Why does he look that way?

We hold each other’s gazes for several silent minutes. His eyes are a sparkling shade of silver, which is combined with the soft hue of teal. They’re comforting and calm, while still looking concerned.

“I-I need to clean up your wound, it might get infected if I don’t” he said carefully. He showed me the differing supplies and ointments he had layed out around the surface of tile that surrounded me. “I’ll try to be gentle with you, but I don’t want you getting even more hurt because of struggling”

Against my better judgement I nodded. He carefully lifted my leg up in between his two fingers. Gently he rubbed some healing oil onto the flesh surrounding the wound, along with ointment on the wound itself. O was pleasantly surprised to see how cautious he was while working.

When he had finished, he bandaged up my leg with gauze and set it down.

“Is that better?” He asked, putting a bit more space between us now that it wasn’t necessary.

“Y-yes, I think so…” I figured with my hands and the hem of my well worn shirt. He seemed to brighten when I spoke, smiling a bit in a friendly gesture.

They pretend art has always existed to appeal to the greatest number of people and appeal in a way that is simple and explicable. If you look at the history of art that could not be further from the truth. Even art that was performed to an ‘illiterate’ public often maintained layers of meaning and ambiguity throughout long periods of history (just look at the global historical traditions of oral storytelling)

The simplification of art and the expectation that everything should appeal to a wide audience is the result of commodification not democratisation. Art has arguably never been less revered than now and still there are people who think it has further to fall in esteem. Just look at the AI movement’s desire to undermine artists while stealing their work.

I believe that the ‘it’s not that deep’ crowd who is eager to wield the accusation of pretentiousness whenever something doesn’t connect to them is part of an anti-artist, anti-intellectual movement to do away with mainstream non-consumerist (non-recuperable) art.

There has been a concerted effort by corporations and those purely interested in consumerism to erase the notion that art is primarily a human expression that is not necessarily made to pander to a wide audience. Every day we see more efforts in the social media & technological culture wars to devalue art and demonise artists who wish to create artistically fulfilling works rather than crowd-pleasing content.