the nature of high contrast as experience
is a comparative truth harvest of crap-ola.
it is a memory lock-down for future reference profiling.
it becomes an overly used skill set
as a perceptual style for viewing of the external world.
it under-dimensionalizes full spectrum experience usage.
it is the imprint of familiarity as imprisonment,
the syntactical capture of gross reality formatting.
it is a faint sliver in a canyon wound,
or a wooden ocean-liner in the backyard pool,
the depiction of death on a calculator screen’s tally,
a herd of platitudes as migratory conversation in passing,
or movie theater mentality as a sense of favorable account.
it is sensory detainment for conclusive judgment review.
it is the daily wearing of the same perfume
until the neighborhood reeks of silent resentment.
it is the fear reflex feeding on the popcorn of the moment,
the cutting edge of decision-making as a dull blade exercise,
the fighting off the mundanity of daily life’s offerings
with full blown cathartic activity as floggings.
it is glandular stimulations from external onslaughts,
attention-grabs as acceptable anxiety attacks,
issue-bound topics producing under-breath cursing
and if I had a gun-logic in reactive mentality.
it is the joy of psycho-tourism of emotional unsteadiness.
it is a drug of choice without even decision staging,
as the vortex of audience induced capitalism.
it is a version of selfie-poker played amongst friends,
a lay-away spectator-intelligence made popular over time,
as the making of spectatorship aficionados, common place.
it makes subtlety in need of red flags and fog horns.
it means that the nature of experience
now has a voluminous prop room of discovery.
high-contrast as experience is hell,
experiencing, as of itself,
is essentially only a timely audience perspective,
dressed in varied preferable wardrobes,
readied for shocking, reflective,
first-person review . . .
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