There is a particular kind of vertigo that comes from living in a time when the people in charge feel less like stewards and more like performers who wandered into the wrong theater and decided to stay. The stakes are real, but the tone can feel strangely off. It leaves many of us unsure whether we are watching something serious unfold or something that only looks like it.

We wake up each morning and check the headlines the way we check the weather, bracing for what might come next. Not rain, but rhetoric. Not storms, but sudden decisions delivered with certainty, even when doubt might be more honest. It builds a quiet tension that follows us through the day.

What unsettles me most is not just the spectacle, but what is changing underneath it. Empathy feels like it has been pushed aside, as if it is no longer essential. Compassion is often framed as weakness. Nuance gets flattened into simple phrases that travel fast but say very little. Outrage spreads quickly but often loses its connection to real human feeling. We are encouraged to react, not reflect.

Ed Woodham performs “Standing in My Garden” in 2025 in Times Square. (Photo by Alan Netherton)

There is also a reshuffling of authority that is hard to ignore. People once known for entertaining or narrating now help shape decisions that affect daily life. Storytelling itself is not the problem. It is how we make sense of things. But when performance starts to replace expertise, when charisma moves faster than knowledge, it becomes harder to tell confidence from competence. The line between appearance and reality begins to blur, and accountability becomes harder to trace.

At the same time, artificial intelligence sits quietly in the background, shaping more than we often realize. It filters what we see, suggests what we might care about, and anticipates our attention. It is useful, even impressive, but also limiting in subtle ways. When our curiosity is guided too much, it can begin to narrow. Discovery starts to feel prepackaged. Even disagreement can feel expected, folded into systems that reward attention more than truth.

It is easy, in moments like this, to say that inspiration is gone. That originality has been replaced by repetition. That creativity has been reduced to constant output. The pace is relentless. The scroll does not end. Everything feels immediate, and because of that, it can also feel disposable. It is exhausting.

But I do not think inspiration has disappeared. I think it has gone into hiding.

It is no longer loudly announced or easy to find in the usual places. Instead, it lives at the edges. In small rooms where people gather with no goal beyond listening. In work that does not fit clean labels or trends. In quiet acts of care that are never documented. In conversations that take longer than what we are used to. In art that confuses before it makes sense.

Maybe the question is not where inspiration went, but where we are willing to look for it. If we keep searching in spaces that reward speed and spectacle, we will keep feeling like something is missing. If we expect unstable systems to also feed our imagination, we will be disappointed.

So, we look elsewhere. We pay attention to what is often overlooked. We listen to people who ask difficult questions. We make space for slower ways of thinking and creating. We choose collaboration over competition, process over quick results. We look to the past, not out of nostalgia, but as a reminder that other uncertain times have still produced meaningful and even beautiful change.

Living in this moment requires a kind of steady attention. A willingness to stay aware without being overwhelmed. A refusal to let constant noise shape our inner lives completely. It asks us to protect our sense of wonder, even when cynicism feels easier.

There is still invention happening. There are still ideas that can shift how we see and treat one another. They may not be popular. They may not be polished. They may not be easy to package or promote. But they are there, waiting to be noticed and carried forward.

In quiet ways, people are building different ways of being together, choosing care over speed and depth over performance. These small, often unseen choices are already reshaping what it means to live, create, and belong

In a time that can feel unsteady, choosing to remain curious, compassionate, connected, and creatively awake may be one of the most meaningful forms of resistance we have.

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Ed Woodham is an Atlanta-born interdisciplinary artist, writer, performer, cultural activist/archivist, and founder of the long-running public art initiative Art in Odd Places.