sure, it is a false front,
as if nothing is really going
but unbeknownst, is.
and you live in standstill surmise.
happening is always happening.
but notice can be a glitch-issue.
how to notice and what?
maybe the drama has no audience
or there is an audience,
but they are all asleep.
just kept puppies, in a conclusion box
where judgment is the owner.
start, hmmmmm, must be a reframe,
given that one is using the same parts.
there must be some observance,
that start can be identified,
that start, by that reference, is motivating,
meaning start generates some internal movement
and the story line shifts.
or at least the backdrop is moving
and maybe then a sense of self, as character, shifts.
a slight shift in orientation adds new elements,
sure small scale but noticed as eventful.
one can now blindly build on that,
stepping into the now, unknown.
possibly there is an element of trust in play.
no one is calling it risk, just yet,
but there is movement regarded as fresh.
start is burgeoning into action of its own accord,
at least that is the name we will give it.
no one really knows first hand
the motivational sources within others.
but start has to …. start somewhere within.
it is the inception of art
as applied to the complexity of start.
dream the vision.
vision the action.
permit the movement
to come into being,
then being the movement,
(internal or actual),
and realize the consequence,
the art of the start is happening . . .