In the past, personal character choices resulted from nodes of information; the given circumstances of one’s existence. Knowledge was a network of tunnels, and one’s vision was held within those limits (with the exception of imagination as a source of knowledge, but even that was influenced by circumstantial information limits).
One’s character and reality was conditioned based on their birth-given set of variables, and as a result, their potential yielded to the ignorance of other knowledge which sat dormant outside of those borders. And as tunnels began to connect, expanding the network and widening the visionary limits, we began to “Other” the character choices which did not emerge from our own respective nodes.
The walls of the tunnels have been scrapped so thin by instantaneous access and relentless saturation that the whole network has collapsed in on itself, bringing down with it our once protected positions on Otherness— “their” image is now up for grabs.
This newly evolved flat land can be thought of as an expansive clean white surface with a black uniform grid- a readied and public plane of pure potentiality.
Since this labyrinth of knowledge has eroded into a precisely flush plane, so glossy and leveled that a single drop of data has no liquid meniscus and is thus instantaneously disseminated throughout, we are no longer held victim to our given circumstances. Because of this democratic accessibility, all referents are available to chose from, like a proverbial sticker book, to be intentionally placed onto this newly expanded field of pure potentiality. Every choice can now be a choice to choose from— in other words, every choice is now a drag-choice (please note that my intention is not to co-opt or appropriate the practice and history of drag and its culture, but rather to applaud and learn from the society-defiant camp treatment of clichés and the informed and authentic play on references as it directly relates to the craft of developing our own characters).
To go even deeper, not only is every choice available to choose from, but the very act of choosing for oneself is a practice which is relatively newly available, as well. The ability to art-direct our personal characters and surroundings is not only possible, it is now a responsibility. The alternative being a life of complacency and aimless, non-intentional, movements.
With that responsibility comes an even greater responsibility—staying true. Just because all choices are now available to choose from does not mean that all choices are the right choices for you. The goal is never to choose the choices which are most flattering, most comfortable, or most appreciated— because, then, is that any better than choosing to choose no choices at all?
The goal is to choose the choices which serve your highest purpose, or, as in acting, your superobjective— your core motivation for existing and navigating within the story. Every choice you choose, great or small, should be chosen with the intent to move you closer to your superobjective— and using this as your rubric, the truest choices for you will become much clearer, as well as with those choices which are not true for you. With this practice, you will self-manifest as an authentic character with a bold and driven role.
Freedom from conditioning, a limitless imagination and a playful sense of reverence for the craft of your character and your reality is possible for us all- so why not claim this contemporary alchemy, open that proverbial sticker book and get to work?