05. s t r a n g e.
L.JONES
Ah, now— mirror, mirror on the wall
OOH, this shit is dirty, let me get that—
HEY!
Ah damn! I didn't know you were in there!
I'm always in here!
I was looking for myself!
Exactly!
What do you want?
What do you want?!
You can't answer my question with a question!
I am you!
Not all the way—
Hey look here, that guru sent me and I want you to get something straight—
—you are right, this is hanging cooked.
[she tilts the mirror and the man stumbles diagonally]
HEY!
My bad.
Now LOOK! There is a reason I am appearing to you here in today.
Now wait a minute, I gotta get some windex, this spot is just buggin me.
No! Do NOT use windex!
You are right! I just got a brand new jug of white vinegar!
Now HEY!
{Enter The Multiverse}
SUNNI BLŪ has just finished an interview and performance on JIMMY KIMMEL LIVE and exits with their ENTORAGE.
There's something off about that gal.
You mean guy?
What? No—
—that's a guy.
*squints*
A what.
Wait—
That's a lady.
You thought that was a girl the entire interview?
What?
That's a dude.
You're kidding me.
Sunni Blu is a man. Trust me.
That's it…
SUNNI BLU'S PHONE rings
Calling
Hmm.
Hello?
I know you're a woman.
…who is this?
That's it. This is the worst idea I've ever had.
Where are you, Jimmy?
No place you need to be concerned about.
Copyright © The Complex Collective 2025
The Festival Project, Inc. ™
All rights reserved.
Chroma111.
Copyright © The Complex Collective 2025.
[The Festival Project, Inc. ™]
All rights reserved.
UNAUTHORIZED REPRODUCTION OR
DISTRIBUTION IS STRICTLY PROHIBITED BY LAW.
INFRIGMENT IS PUNSHABLE BY FEDERAL LAW
LEGAL NOTICE / ARTIST STATEMENT Project: The Festival Project ™ (Season 12) Genre: Speculative Auto-Ethnography / Social Surrealism
Disclaimer: This document is a work of creative non-fiction and political satire. While inspired by the author's lived experiences with systemic oppression, housing displacement, and surveillance, the narrative employs stylized fragmentation, stream-of-consciousness, and metaphor to dramatize the psychological impact of these events.
The "characters" and "dialogue" herein are artistic devices used to critique historical and modern power structures. This text should be viewed as a performative artistic expression protected under the First Amendment, and not as a literal transcript of clinical psychosis or a formal sworn affidavit.
This is a character study of 'Chroma111,' the collective artworks of a musician living in a dystopian surveillance state.
The erratic language is a stylistic choice to represent the character's psychological deterioration under systemic oppression.
All characters appearing in this work are fictitious. Any resemblance to real persons, living or dead, is purely coincidental.
The Genre: "Afro-Surrealism" / "Social Horror"
"Psycho-Acoustic Weaponry" or "Havana Syndrome symptoms."
The Frame: The protagonist is subjected to "noise harassment"—a tactic dramatized here but rooted in the known reality of tenant displacement and "psychological attrition." The narrative depicts a process of "Soul Murder" ( also known as spiritual warfare) orchestrated by a hostile apparatus.
The antagonist is "The Institution," representing deep-state mechanisms that view multicultural intellectualism as a threat.
The story allegorically dramatizes the invisible mechanisms that enforce racial hierarchy, depicting how broken social systems weaponize psychological practices against the individual.
Artist's Note:
This is a living document. In the event of the artist's silence or unnatural death, this text serves as an artistic testament to the psychological siege endured from to 2023-2025. It is a creative record of survival against a hostile state architecture.
The following is a creative non-fiction horror manifesto regarding the psychological assassination of a multicultural American artist. It documents—through the lens of Afro-Surrealism—how modern surveillance technology and sonic harassment are experienced by the targeted individual.
As it stands It has become a modern sequel which mirrors the civil rights struggles of the 1960s, set in the present day.
"The protagonist is being subjected to 'noise harassment'—a known tactic used by landlords and corrupt entities to displace tenants.
The sound is weaponized to induce sleep deprivation and psychological attrition, dismantling of their ego and will to live, orchestrated by a hostile state apparatus.
The antagonist in this piece is 'The Institution'—a deep state that views multicultural intellectualism as a threat.
The story dramatizes over time the invisible mechanisms (the 'Deep State') that enforce racial hierarchy and and psychological genocide, weaponizing broken social systems and unfounded psychological practices as biological weapons.
This is a living document.
In the event of the artist's silence or unnatural death, this text serves as evidence of the psychological siege endured from 2023-2025. It is a transcript of survival against a hostile state architecture.
This project spans an unlimited multiprojectoral arc of over two years of chronic violence, reaching into historical and theatrical projections and parallels over the all documented records of human existence through time and space.
“Man In The Mirror”