In Today's World, Everybody Is an Artist

 The fallacy of the artist is to assume the responsibility of creation, though it is by all accounts, not necessarily ordained upon their person. With the unrelenting exposure offered by the social media landscape, there is consequently a never-ending canvas upon which every one is necessitated into becoming an artist. Never before has there been pitched a greater 'profane joy' for which the old oppressive 'guilt' must be compromised and set aside, to chase the validation that we, lowly mortals, have long craved. The burden of creation falls heavily on each and every single one of us, who faced with setback, ends up more aware of what others have done better, hence finding a greater pressure thus thrust upon ourselves to perform at the same capacity, or better yet, driven by baser impulses, to perform at our best.

What does the world do to those who progress in a bid to fashion a Heaven out of it? Respond with an even harsher brand of entropy that further entrenches Hell itself. Yet, even then, the artist, deluded as they are, finds themselves condemned to build back better still, becoming disillusioned even as their impromptu craft attains the epitome of perfection. Pinned down by desolation, they take it as credible evidence that they are on the path to eternal glory, eventually, creating only to subvert and distort. This then lends credence to the ultimate reality: there can only be one Creator, worthy enough to paint on the canvas of multiple worlds.

Where we are now, the overwhelming plight and disillusionment has ensured that everybody somehow become an artist. Be miserable, wallow in suffering and exalt it considerably. Vince Gilligan, the man behind Breaking Bad and Better Call Saul has a new Apple TV web-series called Pluribus (Latin for 'many' as derived from E pluribus unum, translated 'out of many,one'), could not have been more timely. "The most miserable person in the world must save it from happiness", reads the show's official premise, yet the reality is far more haunting. The plot as it unfolds, serves only as a reminder that the artist's misery is one that now deserves to have world-wide company as opposed to the 'disease' of happiness and contentment that ordinary folk strive to attain. It is convincing, as it comes packaged in the flashy aesthetics of pop culture. The neon demon seems hellbent on spreading his wings and getting the most out of soft power. 

Lastly, if it gives the impetus to create something out of nothing, then it is best that tyranny and oppression be pre-supposed to be omnipresent, even if not overtly there to begin with. The tragedy of time coupled  with the subtle machinations of entropy as aforementioned, would only end up installing tyranny and oppression in real time, for the myriad impulses of numerous flawed creators to be unsatisfactorily immortalized as they continue to conjure up even grander visions for reform.