Ken Kammal

The eagle, or vulture-like form, becomes a question of approach: do we stand beneath the symbol for protection, or do we rise to observe it with discernment? In this way, the Bird of Jove is not a single nation or system, but a universal construct—one that shelters, conditions, and ultimately challenges us to decide how we engage with the structures that shape our lives.

In this environment, even rebellion gets branded and sold back to us as aesthetic. The critic’s pen no longer seeks truth; it seeks control. Each “review” becomes a form of social steering — a coded approval or denial of what consciousness should look, sound, or feel like.

The Cracker Box has become the standard for what nations and markets call art. But here lies the danger: art risks becoming another boxed commodity—seasoned enough to be palatable, branded enough to be marketable, safe enough to be stacked neatly in the global pantry of empire.