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  • Writer's pictureAmelia Nicol

Never Exactly…

The passing times and capabilities of inspiration: the ease of conditioning response becoming the terse invitations of inspiration and progress construed in multiplicative efforts. Every part of the present condition before actually presenting anything regards the moment, this here and now, as already passing by, and the future becoming every moment worth having, refrains from too much sense and predicts a congruency morphing possibilities to surroundings and environment becoming every part of self, separate. This was for you, too, and was definitely about proximity and inspiration, the ways in which we tend to hold onto information or organize data according to autonomous space and presumption. The same around again, these exact same ideas anyplace differently, these very same postulates of possibilities becoming another place just as easily, wondering usefulness and worthwhile effort: meaningless, meaningless, it has happened before, but never exactly like this. Origins of creativity, the constant fears of always sharing, the idea that communication depends upon will and the tendency to invite non-present audience in writing. There is no you or I, very few instances of actual audience and even fewer recounted interactions. Dilemma of inspiration again, this present moment becoming every other, any other, just so easily these layers of dimension interact and convene in parted lengths of creativity and inspire beyond any hope of attribution. What parts could possibly belong and which parts were already existing? Of this present assurance of creative graft and originality, how many others are currently writing something similar or could be inspired by something like this? How often does any of that happen simultaneously? Having a better idea for the predicaments of coincidence would help, of the ease of congruence and the applicability of ambiguity in any situation. If it’s ambiguous enough, it could fit anyplace and make sense enough. The meaning will always be left to the audience, and complete and secure and sure, yes, but entirely up to you, in the end, every piece really is. The claiming of coincidence brings meaning automatically: this were to match perfectly to others intentions, to become another part of themselves, parts of their own environment always being attached, and can’t escape the sense of meaning attached to any limit of coincidence. Of the assumption attached to apriory and the indicatives of thought that pronounce organization of information to us, of feeling attachments that don’t exist or fearing those that can’t, of inspiration and proximity, creativity and originality.

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