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Chapter Fifty: Materialism

The plight of the New World of America and the rest of its Enclosures can be suitably summarized into a major issue that governs the manifestation of created things in the universe that are tangible and real, and totally part of the true reality. Materialism plays a major role in consummating the grace of creation, which flows from object to object, from the higher power and authority to the organic flesh, and from the cosmological experience and into the exclusive realm of the divine.

The materials used in the glass dome of these Enclosures were a product of many scientific experimentation, and true enough it was tested to be strong, durable, and will possibly withstand all the vulnerabilities present in the present environment while exposed to the elements and the corresponding fluid pressure. Despite the lack of opportunity to conduct actual trials, the major scientific theorists at that time has done a great deal of outstanding work.

The glass itself was sturdy in appearance (and in its composite elements), and, after five years going into this mysterious and curious conflict, the same statement can be said about the effects of the many forces that can negatively affect the dome. This is to make a clear conclusion regarding the safety of the Domes as certified within the responsibilities of the Governance Commission about this particular predicament.


With regards to the fundamental interior of the Enclosures, the ground is very comparable to what can be found on Earth. The same crucial elements compose the material of the soil, and vegetation still exists despite the lack of sunlight. Although there was artificial source of light with suitable radiation to mimic the sun in the solar system, the interior of the dome itself is mysteriously self-regulating, which means that it changes in material composition that will allow it to withstand the effect of the "several" impetus of the fluid from which the unique Waterbred Dragons thrive.

It is in this dire situation that man must appreciate the relative importance of materialism, to support certain natural forces into the depths of the theoretical tangible reality and then turn it into a substantial notion of the invisible, to infinitely experience the finite space and time in a singular form. This plight appears to be quite simple to understand, yet it lacks the basic premise in which the tangible must be able to show the hidden intangible value in the abyss of all that is buried within.

There are many more reasons that can be cited in support of the consistency in the pursuit of situational necessity of artistic expression, however, suffice it to say that all the created things are imbued with an inherent song waiting to be discovered from within. There are many forces coming from the inside that support both love and passion, and that each object have the indefinite possibility of being converted into an art form that evokes beauty, kindness, gentleness, rhythm, and, possibly, grace.

Beauty comes from within, of course; it is the truest glory of passion. The appearance of things are not always what they seem to be, and this very nature of creation requires everything around it to be consistently investigated and analyzed to try uncovering the repressed.

Art also requires a story to be told with the same intensity of its beauty and appointed grace. While words are sometimes insufficient to describe what beauty might entail when one is obligated to attempt to describe the vital abstractions in expression by the aid of the several properties of materialism, it is enough consolation to know that such art can only be appreciated by the legitimate artists themselves, and never worry about those who cannot comprehend the humanistic forms of esoteric contenance.

A pair of eyes must be trained to see the unseen story, and then help the mind to look at that material in order to show the art that was completely hidden from within it. That is not the job description of a bona fide artist, though. One must learn by himself to see the aesthetics of art as an improved capability of the human senses.

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This Chapter is sponsored by Louis Vuitton.

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