Too Many


Years ago, I began to feel, as a whole, that we, the over socialized sect of human existence, had hit a creative plateau, and not because we were at our end, but because this redundancy was supposed to act as an indicator that we had reached a threshold of expressive culmination. It was only the end as we knew it – a type of collective denial.

I didn’t have the language for it at the time, so I would refer to it as existing within a computer simulation. I would test my theory by challenging peers to fathom an original idea or invention for a hypothetical science fiction scenario. I avidly pointed out that any result they could possibly procure was one which had already been conceptualized. Everything already exists, even if only just in theory. The idea was that nothing original could be created within a controlled or prefabricated reality. That is when I concluded that all modern and postmodern innovation must be birthed out of an already existing artifact – a sort of implosion of culture.

The emergence of the “movie remake” (and sometimes even the remake of the remake) phenomena that took over the entertainment industry is what first made me aware that we are not only living in a disposable society, but one that values and actively encourages the copy of a copy, despite degeneration of value or meaning. I realized that most commercialized art and punch-lined humor is so mass received as a result of its origins being in some reference to a facet of popular culture.

For all of the reasons that I loved this video and found it to be unprecedentedly entertaining, are the same reasons that its implications did disdain me. To produce something so unilinearly fashioned and verbally inexplicable that is so overtly and universally understood and received, in itself, proves to be a very dark, yet successful socio-psychological experiment.

New art – these hyperreal combinations should be conventionally confusing, yet we are capable of having specific emotional switches flipped at the site or sound of a familiar trigger. It’s frightening and equally intriguing that we can get a majority of a demographic to identically emote and relate based upon a repetitive and conditioned narrative, through a medium executed in a way that does not meet any standards of cognitive reasoning, other than within its own point of reference.

As Jean Baudrillard said, “It is the generation by models of a real without origin or reality: A hyperreal. The territory no longer precedes the map, nor does it survive it. It is nevertheless the map that precedes the territory – precession of simulacra – that engenders the territory.”




Symbols, due to their transient nature, can never be as pure as the thing that they represent, and especially run the risk of being misunderstood, thus unjustified, considering we all interpret symbology through our individual stories and experience. 

Before Saviors, Men Were Forced to Save Themselves


We are born into a system, already in place and regulated by others, without being given a choice as to whether or not we wish to participate. Universal standards of right versus wrong have been predetermined, for no other reason than, those who put the system in place came before us. Never forget where we come from, and never succumb to a predisposed truth just because it came first. Before “saviors,” men were forced to save themselves. Before dogma, men were required to fashion their own beliefs. Where did the archetype of a savior come from if not from the psyche of man? The savior is only a symbol of man saving himself, personified, and the origins, then forgotten.