Art/Migration

A sprite-observer named Isaac evaluates the weight of human art on Earth as civilization evolves to become much more dream-catching!

This is a vignette inspired by the dioramic film Clan of the Cave Bear (Darryl Hannah), which I decided to return from semi-retirement to write, as this Coronavirus summer winds down. Thanks so much for reading,

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The old civilization was all about merchandising and aesthetics, and commerce dictated a special panache for the celebration of vanity-driven consciousness (e.g., Playboy Magazine). This was the world prior to the advent of the Internet.

The Internet changed everything. Now, every object and product was widely accessible and re-cast in an online virtual highway, where consumers could peruse ideas and goods as easily as they took a bath! The Internet changed the way humans thought about the positioning of every image ever conceived.

This new particle-based super-highway made it intelligent and rational to treat consumers themselves as agents of great convenience-driven imagination. That's why comic books became so popular all of a sudden, casting characters representing the panache of speed and swiftness as diplomats of this new era diorama!

If the pirate was the old-world emissary of adventurous network building between nations and seas, then the comic book superhero/villain became the new-world diplomat of this super-highway imagination negotiation. The old pirate was therefore the representative of that archaic aesthetic celebrating the accessibility of transit and travel.

Because the Internet made it convenient all of a sudden for amateur and professional artists to circulate and hype their art worldwide with great speed and convenience, the concept of transit and travel became a thing of great confidence! This is how the comic book superhero/villain characters such as the Flash (DC Comics) now reflected an emerged human perception of immaculate imagined Earth distance-bridging. The Flash traversed the new Earth as if it was a landscape of great dance!

One might therefore wonder how this great juxtaposition of tool and condition based imagination cultivation reflected the general evolution of creativity itself. Why did earlier civilization humans paint their faces, while modern civilization members chose to hoist the image of synthetic creatures and artificial beings?

As tool-use and condition shifts dictated a great migration in the way of thinking and dreaming, the storytelling of Earth shifted between a focus on personality and a focus on culture. This socialization consciousness came because of a global streamlining of labor and production, facilitated by the Internet, and therefore led to nostalgic old-world paintings and drawings of great social migrations symbolizing individual dignity! In other words, today's celebration of matrix robots and computer avatars prompted an artistic backlash to celebrate fairy-tale images of old-world identity-maintaining migrations. That's why I'm writing this vignette about the peculiar human interest in re-casting Earth continuity with art.

My name's Isaac, and I'm an underwater semi-human creature from the Abyss, and I observe the activities and evolution of mankind and take notes on the characterizations of change and continuity. The value of casting imagination through art is clarified in the imprints of macro-social migrations. That's what makes art great --- detail!

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"Money is everything" (Ecclesiastes)