Mummy never speaks, silence answers.
Her eyes embalmed as if should I care,
embalmed in false hope, a curse I wear.
The mummy of mom watches me fail,
like her, and smiles knowing I inherited,
her smiling, each time I lose the dare.
I call a name where all is rotten there.
Glass coffin where the world judges me,
with breathe of joke I live, the bitter end.
Heir of a wound one tried to mend.
imprisoning me daily these ways to feel,
only to feel terrified, the best of me.
Too bad, what could I possibly mean?
Darling, she says and laughs, crucifiying me.
It's normal to never access even the resources that any citizen deserves. Because you're the one who doesn't get in, the one who doesn't receive, the one who doesn't deserve it. Because it's normal.
It's normal for people to decide what you think. Why bother asking you? They've already deduced it from your gestures, your silences, your symbols. It's normal for your symbolic framework to be a riddle that no one wants to solve, but everyone wants to use. Because it's normal, infertility is normal. Not the biological kind—that's too intimate to achieve without creativity—but the kind that occurs when what is private without consent has become totally freely accessible to the public and amplified by social media, as befits the era of forced transparency, and which only leads to copies without attribution or misinterpretations by audiences who don't share the symbolic framework, the language, much less the pain they trivialize because they simply don't understand, thus being exploited and reduced to an aesthetic that doesn't even represent you. But there's nothing to report here, clear the area.
Proceed as normal among new references to emerge that don't understand the process behind one because it is normal for your work to be treated as a meme, a template, a context-free source. Superficial misinterpretations are normal, becoming a public showcase for every vulnerable place "illuminated" by the sensationalist spotlight. It's normal for respect to be optional, and for your identity to be a simple and empty source of content for others. Because, of course... "It's always normal."
Art is not, obviously, that ephemeral and often conflictive relationship of a search for love based on ending up all beaten up after provoking angers to strangers for internet content (Johnny Somalí), but it is truly the need to know ourselves, find ourselves, and even make visible what is not always so through authentic connections whose panorama is being transformed even now more with the popular use of artificial intelligence, challenging us to find meaning in the everyday such as collaborative projects that are booming in particular because brands seek to reach a wider variety of audience groups by adopting styles in their campaigns driven by increasingly advanced targeted digital advertising, which allows brands to serve audiences with images that will appeal to their specific tastes of familiarity and visible comfort through creations of 3D textures visible on image generation pages with artificial intelligence, but in a professional way and that transcends other arts style yameii online, apoki or digital humans like Mave's kpop offering; In turn, driving the making of 3D modeling more accessible and with a greater workflow for 2D artists based on platforms such as *WOMP*, *Adobe Project Neo* and *Kaedim*.
Design will also delve deeper into the pursuit of futures with roots in trends such as the retro-futurism based on stylized interpretations of the vintage and retro Moons of Darsalon style, steampunk, cybergothic and representations of the past and present, trends that unleash the imagination of artists and are expected to be applied more widely to comic art, conceptual art and fantasy illustration. After all, the trend will be totally clear during 2025 with the return of vintage magazine brands such as *Heavy Metal* and *Metal Hurlant*. Also we will also see a lot of psychedelia inspired by nature, spiritual feelings, hallucinatory patterns, vintage futuristic landscapes, funny and relatable everyday moments, satire, wordplay and the quirky; with a timeless sense of humor.
Additionally, all hand-made stop motion animation will be popular like already *Wallace & Gromit: Vengeance Most Fowl* on Netflix, *Dog Man* by DreamWorks or *Wildwood* produced by Laika, and there will be a lot of attention to all immersive experiences such as the collaborations made by artists like DJ Anyma (Matteo Millei) who has managed to combine electronic music with projections created by the team behind the duo Alessio De Vecchi (co-creative visual director) and Ian Spriggs (character artist), during the events of Tomorrowland and Afterlife, similar to those presented in the structure of The Sphere in Las Vegas, a site where popular shows of the same style will continue to be performed, and whose trend is repeated with *Starscape* presented at Genesis House in New York City; *Immersive Journey* by ROM in Toronto; *Invisible Worlds* at the Natural History Museum of America; *TeamLab Planets* and *TeamLab Borderless* presented in Tokyo; the moving version of *Rembrandt's The Storm on the Sea of Galilee for Frameless* made by Cinesite in London; As well as immersive, interactive experiences such as *Super Nintendo World* at Universal Studios Hollywood and Universal Orlando Resort; *Disney's Star Wars: Galaxy's Edge*, located at Disneyland; or *Pac-Man Live Experience* at the Arcade Arena in Manchester
And that's how we've already started to explore the concept of "Real Time Immersive Experience" using Unreal Engine, this powerful dynamic rendering engine allows the creation of complex environments, using cloners and effectors that can handle tens of thousands of meshes in real time, whose capabilities include Dynamic Visual Definition that allows adjusting the visual resolution of particles and colors on material surfaces instantly, and Advanced Visual Physics that offers realistic simulations of particles and collisions, enriching the immersive experience; Features that are essential in large visual effects and animation productions, both in film and television series, as is the case of visual effects and film production companies such as DNEG.
In conclusion, the evolving landscape of art and design is being dynamically reshaped by technological advancements, particularly with the integration of artificial intelligence and real-time immersive experiences. The convergence of these elements not only expands the boundaries of creativity but also offers new avenues for artists and designers to connect with audiences in profound and meaningful ways. As we continue to explore and embrace these innovations, the potential for collaborative and transformative artistic endeavors will undoubtedly grow, enriching our cultural tapestry and paving the way for future generations of creators.
