The Ayes Have It (But She Don't) Everybody knows the bill is dead Everybody knows the Senate’s red Everybody knows the deal is done The major parties had their fun The crossbench bargains were all just show The whips have cracked, the whistle’s blowed That’s how it goes And Hanson always votes no. Everybody knows the bells are ringing Everybody knows the mud they’re slinging Everybody knows the clerk can’t count With all the grievances they mount Everybody knows that the motion’s lost Everybody knows what the lobby cost The Ayes go high, the chamber’s low And Hanson always votes no. And everybody knows that it’s now or never Everybody knows that it’s gonna take forever Everybody knows that the act is rotten Old amendments best forgotten Everybody knows the tellers move With nothing left for them to prove The red room puts on quite a show But Hanson always votes no. Everybody knows the maiden speech The lessons that she tried to teach About the fish and about the chips And the tig...
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The art of the obscure and meaningless
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The hand that holds the glamour
Between the flick of a lighter and the curl of smoke lies a story told in two parts: the hand that holds the glamor, Between the flick of a lighter and the curl of smoke lies a story told in two parts: the hand that holds the glamor, and the eye that chooses to believe it.
The art of the obscure and meaningless
In the realm of modernist art, exemplified by Eddie's deliberate embrace of abstraction and mystery, artists have increasingly surrendered their authoritative power of intent to a veil of meaningless vagueness, compelling viewers to co-create meaning from fragmented suggestions rather than receiving a clear, directive vision. Her scalpel-wielded dissections—such as her perforated self-portraits or obscured war images—eschew explicit communication in favour of elusive hints, as she professed a desire to remain "mysterious" and avoid revelation, thereby shifting the burden of interpretation onto the audience in a pseudo-spiritual act of collaborative transcendence.
This approach, rooted in modernist pseudo-spiritualism, posits art as a nebulous ritual in which the viewer's subjective gaze supposedly elevates the work to profound depths, echoing the era's fascination with ambiguity as a gateway to higher, ineffable truths—yet it masquerades as enlightenment while diluting the artist's agency into an inconsequential haze.
However, this ideal of co-creation falters in practice: how can meaningful collaboration emerge when empirical studies reveal that museum-goers devote only a handful of seconds—averaging 27 seconds per artwork—to contemplation? In such fleeting encounters, the vagueness intended to invite deep engagement instead risks fostering superficial dismissal, reducing modernist pseudo-spiritualism to an ironic charade where the artist's relinquished intent evaporates unnoticed, leaving only ephemeral impressions rather than transformative communion.
This artwork is protected by U.S. and International copyright laws. Distribution and/or modification of the artwork without the written permission of the sponsor is prohibited.
Scene 1 In the cradle of copper veins, where the first byte flickered like a eucalyptus firefly against the millennial dusk of 2000, threads uncoiled—raw and unbidden, a post-punk snarl weaving through the static hum of dial-up dreams. Imagine the snare drum's ghost-crack echoing off Uluru's red flanks , not as a conquest but as a lover's bruise, blooming violet under star-pricked skin. Here, rebellion wasn't a fist raised in Canberra's marbled halls but a glitch in the grid . A Laughing Clowns howl warping the airwaves, sonic annotation—jagged guitar riffs splintering into didgeridoo drones , fading to the hiss of cooling circuits. The wire remembers: a young voice, pixels pulsing with the fury of forgotten tapes, cassette ribbons unravelling like the Murray-Darling 's parched secrets, whispering of bans that bind not bodies but bytes, burqas woven into neural lace, veils pleading for the light they obscure. Be Creative and Innovative with Knowledge Jo...
The Metallic Bloom "It starts on the back of my tongue. A cold, sharp tang of copper... like biting down on a gun barrel. Then... it detonates. It’s not a scream—it’s a jagged, violent bloom tearing through my throat. Shards of silver... iron... and rust. I am no longer a man... just a dark silhouette exploding into shrapnel. The panic is absolute." The Metallic Bloom video-poem It starts on the back of my tongue. A cold, sharp tang of copper— Like biting down on a gun barrel. Then… It detonates. It isn’t a scream. It’s a jagged, violent bloom Tearing through my throat. Shards of silver. Iron. Rust. I am no longer a man— Just a dark silhouette Xxploding into shrapnel. My body isn’t mine anymore. My voice isn’t mine anymore. The panic is absolute. Be Creative and Innovative with Knowledge John Bennett - AKA JJFBbennett , is an independent artist. You can view and subscribe to my work via Blogger , YouTube , Flicker , Facebook , Instagram and Deviant Art ....
Chrysalis This isn’t a tomb It’s a chrysalis . We aren’t being buried We’re being rewritten. Be Creative and Innovative with Knowledge John Bennett - AKA JJFBbennett , is an independent artist. You can view and subscribe to my work via Blogger , YouTube , Flicker , Facebook , Instagram and Deviant Art . Subscribe to JJFBbennett's private FB hub: https://www.facebook.com/share/g/18ythpSXPZ/ You can subscribe to my music via YouTube Music , Spotify , iTunes, Apple Music and Soundcloud To support my art, feel free to donate via JJFBbennett through PayPal If you want to acquire JJFB's art creations as an NFT - John's Opensea NFT profile is https://opensea.io/JJFBbennett Copyright This artwork is protected by U.S. and International copyright laws . Distribution and/or modification of the artwork without the written permission of the sponsor is prohibited.
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