Emotion as Forms of Color and Texture

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There are two methods of creativity: combining or rearranging existing elements into new structures or inventing elements with which to create forms and structures. One method is related to discovery and extraction whereas the other method is pure creation - bringing into being something from nothing, or thought alone.

So in the first case, the artist is taking existing elements and shaping them into something interesting or unique relative to what others have done with the same set of ingredients or elements.

In the second case, the artist is forming new materials, out of thin air, and putting them together into a unique combination that is specific to their artistic vision. This is the method which was used to form our universe as is believed in the theory of Creationism.

Of the two methods of creativity only the first method or locating materials, extracting them, and arranging them into unique and pleasant forms is what artists on Earth are capable of using in music and sketch.

Color is a quality shared by the sketch and music.

With the sketch the issue of color is primarily with the harmony of color, blending of hues, and shading (relative brightness and darkness).

Similarly, music possesses the quality of color, except in music color can be expressed in timbre, dynamic elements, volume, composition and dramatic performance.

With timbre each instrument or sound in a piece of music possesses a certain quality that helps to identify and define one sound from another. In other words, each instrument has its own voice and can  be identified and not mistaken for another.

Closely related to timbre is texture, which is the harmonious (or disharmonious) blending of different types of timbre. Combining a variety of timbres within a composition is what develops a textural soundscape in each piece of music. When musicians layer several instruments or voices with different timbres, what they are in effect doing is constructing texture.

Texture in music comes across either as a visual or tactile sensation. Where we can describe a sound as sharp, piercing, smooth, jagged, rough, dirty, deep, or shiny, then in a crude way we were describing timbre in the form of texture or other tactile qualities.

The harmony or disharmony of the timbre into a pattern of texture is what forms the basis for emotion in a sketch or a piece of music.

With the sketch, texture only becomes apparent when you mix or layer media or when you use a media like acrylic paint or oil paints which are thick relative to other media such as pastels. Texture in the sketch has the effect of literally coming off the page because it can stand up or be thickly applied to paper or canvas. This style is mostly used in fine art painting where the brushstrokes are clearly visible. But in general it’s a physical thing where the artist is turning the two-dimensional image into a three-dimensional object.

Music makes an impression on the ear, while sketch does so in the eye. The thought and care that the artist has poured into their work will finally manifest its clarity and message from the end product across space and time by leaping into the mind of the audience by creating an impression.

If the impression has meaning for the seer or hearer of a sketch or a piece of music, then the impression will rise in status within the mind and evolve into an emotional experience that connects the artwork with a person's outlook on life, their aspirations for the future, and even their emotional history.

Art has the power to inspire others by adding fuel to the desires for the future. Art has the gift of shaping a person's sense of life by becoming an essential accessory to their way of living. Art also carries with it the emotional impact the artist imbues it with and how this interacts with the past of the audience member.

When a sketch or music impresses itself deeply into the mind of the audience member, the impression evolves into emotional impact, which is what the artist is seeking when they decide to share their work publicly.

As the work of the artist approaches completion, where the shape, texture, colors, and objects are balanced or imbalanced within a sketch or in music, the piece undergoes one final test to determine its value and function. If the artwork has the ability to the serve the purpose of the artist by making a deep psychological impression that becomes a meaningful emotional impact which fuses itself into the mind of the individual audience member, then the piece has value and serves its function.

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Related Music:

Aquatania

Disco Orchestra

Take Me Higher

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Marc

http://stereothesis.com/

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Being in the Room

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Connection is what defines the relationship between the artist and audience. The artist through their work literally reaches out with an idea impressed on matter or by a transference of energy and touches the audience by means of their senses. Therefore, the bond between an artist and a fan is extremely intimate and personal.

At the moment of connection, which occurs in the mind of the audience, the person upon whom the artist’s message falls or whose work touches deeply, the audience member is transported temporarily into the space of the artist. This event occurs magically and perhaps through some means of psychic transmission. However it does happen, it seems to transport the audience member to another place and time completely, when the experience is deeply felt. 

It’s as if a portal was opened through the work of the artist transporting another mind from whatever distance into proximity so as to have them share in the experience of making the artwork that brought them together. The work of art is a portal connecting the artist with specific people in the audience at varying intensities of connectedness.

One of the most common experiences and questions that occur to individuals in the audience when they become transported by a work of art is, “How did they do that?” What this means is that the individual is shocked by how thoroughly the artist has approximated one of the audience’s own thoughts, beliefs, ideas, personal convictions, experiences, sentiments, or emotions in a work of art. The individual perceiving the creative work imputes this part of the experience and this is what establishes the connection on their side of the interaction and permits the transportation to take place. The individual literally opens through acceptance of the work just as the artist previously opened themselves to pour out the work of art and this is what forms the portal of connectedness.

The audience wants the experience of being in the room where the artist spent countless hours originating, shaping, and developing their work in stages or in bursts of inspiration. They want to witness how failed attempts eventually lead to a breakthrough, how an artistic problem resolves with a flash of insight or an ingenious solution, and how accidents can give birth to new creative directions. To give them a direct look into such actions would require the artist to allow them into that space and therefore to have an influence on the outcome of the work. 

Being in the room with the artist, the audience would no longer be an audience and would magically be transformed into an influence or force partly shaping the direction of the work. Since the audience is in the room, they switch from being transported by the work of the artist to becoming part of the process. No portal of imagination will form from this type of influence, so it fails to create the kind of connectedness that generates the sensation of being transported or moved. 

When the artist sends out a message, someone is always listening. Who “hears” the message or calling from the artist is not always who they intended to reach, but someone hears nonetheless. A unique recipe, strange painting, unusual song, a building, a photograph, book, or chance meeting with a work of art are all vehicles for connectedness. Whether the audience member is touched through their sense of sight, hearing, taste, touch, smell, or by a psychic channel of perception, the connection is forged when the mind of the audience relates the work of the artist to their personal history (memory) or aspirations for the future (dreams).

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Related Music:

Lonely King

Ask Yourself

Mr. Gambler

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Marc

http://stereothesis.com/

Remember to join our mailing list.

To support Stereo Thesis with a financial donation securely through PayPal, click here.

Snake People

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The snake has deep symbolic meaning in all societies around the globe both for good and evil. Some of its significance ranges from sexual connotations, notions of evil intent, all the way to a deity or god form that is capable of imparting wisdom to mankind.

In this song and music composition, “Snake,” I wanted to bring out the elements of the snake that I felt I could related to and express with convincing dramatism. To do this I needed music to establish that vibe. So what I did was use a micro-tonal tuning on the guitar, which worked perfectly by creating a variety of exotic textures as I experimented searching for the right combination.

The music was designed to make you feel like you entered a ritual chamber where something (or someone) was going to be sacrificed. The darkness of the space was lit with the dim light of candles and filled with the smoke and odor of incense. The rattle at the introduction and throughout the song present the Snake as a mythical man-animal hybrid luring a new victim into his sex ritual ceremony.

Snake people come in two forms, men and women, who assume the characteristics and behavior of the animals as we understand them. When they speak they use slippery words that sound good to the ears of others, but hide their true intentions. When they act to do good, they do so with the expectation that such labors on their part will derive some reward, repayment, or enslave those who they’ve assisted. All in all, their thoughts are drawing boards for the spinning of social webs that are designed to ensnare others in traps of their own making.

Having fallen into one of a Snake person’s set-ups, the target strangely feels grateful for receiving such an invitation because Snake People are extremely talented at charming their victims. There’s even a sense of obligation for going or showing up to the ritual chamber that occurs in the mind of the person to be used and sacrificed, since Snake People are expert at eliciting other people’s confidence and cooperation.

In the song “Snake,” the main character is a mythical man-creature who greets and invites his female catch into the sacred space and proceeds rapidly to begin the act for which he had intended for his victim. Once the Snake-Man reveals his true intent and nature as a person, the reaction of the victim changes and becomes a massive let-down. Her hopes were raised by his smooth words, cool demeanor, expensive taste, and nice possessions only to be shattered by the reality of the situation and the act in which she is engaged.

The Snake-Man, in contrast, experiences elation at seeing his victim’s reaction when he finally exposes the truth about himself. As she is going through all the emotions associated with her feelings of deception, the way it changes her physical appearance actually brings the Snake pleasure.

The spell that overcame the victim was initially generated when the Snake enveloped her in a web of psychic energy which he placed over her as they first met. The effects of this web lasted all the way until she arrived at location of the ritual chamber. Now as the sex ritual begins and demands further involvement, the spell became a deep trance which increased with every form of compliance she allowed herself to commit.

In the second verse of “Snake,” the victim at one point starts to look for an exit, but the Snake-Man anticipates this and thwarts her effort by diverting her attention to the next action she must perform before she’ll be released again into the wilderness of human society.

Pain, distress, and worry - emotional or physical - in his victims is a source of joy for him because to him what he does and how it affects others is nothing more than fun and just the way life is - eat or be eaten. The rule of the jungle is a male or female Snake’s philosophy of life.

“This is why I love you,

This is what I love about you,

This is when I love you

This is how I love you.”

Wrapping up the piece is the chorus, which is actually the Snake persons mantra. When they’ve succeeded in manipulating, humiliating, using, and destroying their victims, they actually mix complements with the humiliation to make the experience even more hypnotic for the victim by spinning it with confusion. Their goal is to break the will of their victim and remake them into loyal pets, but for those who will not comply and are not easily broken, Woe! To them who will not bend into the fold.

To hear the track “Snake” from the album
Dynamo Symphonia by Stereo Thesis...click here.

Marc

http://stereothesis.com/

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The Music Vault: Overflow of Creativity - Revisited

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Creativity cannot be contained or regulated since it flows to hidden recesses in the mind or soul and pools into reserves waiting to be harnessed. When too much creative energy is forced into a pool of reserves and is not allowed to flow freely into artistic production, pressure builds in the mind of the individual restraining himself.

This scenario occurs all too often in the field of the arts and the entertainment business, which is totally out of alignment with the needs of the artist and their desire for complete freedom of artistic expression. Instead, what happens, for example as in the case of Prince, is the record label decides how much and how often the musician/composer will be allowed to release their work publicly, so the artist can either wait for the label to dictate their rate of production, break the contract to move forward on their own, but risking a lawsuit, or start a new project under a different moniker, then proceed from there.

Some of the recent revelations about Prince’s music vault illustrate how much unreleased material there must be in the music vaults of most top bands and other solo artists in the music industry that’s just waiting to see the light of day, but won’t because the record labels want to control as much of the production process as they can to protect their investments in the works of their artists. It can be safely assumed that there must be as much unreleased material as there is released material in every artistic field, but for financial reasons or investment purposes labels aren’t allowing the artist the freedom to push their material out publicly.

At one point, Prince in his battle with his record label demanded that he be allowed to release albums at a much faster rate than they were allowing him to, specifically 2 albums per year, in order to keep up with his speed of production and the immensity of his creative vision. This would account for his vast unreleased music collection as well as additional materials and media.

Interestingly, no one doubts that Prince was in possession of such material and that it consists of at least 50 fully produced music videos, full-length albums, and many other kinds of media produced by the artist. In total, there are probably hundreds of hours of music ready for release in the vaults, but rumors are that the material is likely to be released slowly over the next 2 decades. It is also believed that this material includes songs that the artist once said contained some of his finest work.

When a person’s creative capacity is restrained or unnaturally regulated, from within or without, the soul of the person quietly determines that the vehicle is inadequate to serve its aims, therefore the body or restraining influence must be destroyed. Whether the artist restrains their creative capacity by withholding their artistic output or by hiding or withholding their artistic creations, the pressure of withholding becomes a kind of psychic pain, which is formed from the artist’s inability to freely offer their creative work to their audience.

Without resolving this dilemma completely, the psychic pain can morph into physical pain, which forces the artist to find ways to reduce or eliminate the pain. Too often, when artists go through this process of degradation, they self-medicate and frequently overdose. When the artist destroys their body, using one method or another, their decision is swayed by choosing the lesser of two evils. Instead of fighting the record labels in court, which could completely wipe the artist out emotionally and financially, they find other ways to escape the situation.

Prince, along with the many other artists, musicians, and composers, who are trapped by the restraining influence of music labels made his choice and for that we lost a tremendous talent whose absence became an immense void in the soul of humanity. This type of artistic departure I term “black hole creativity” because of the vacuum it leaves in the collective creative mind of all people.

Creativity needs freedom of expression to ensure the physical and psychological health of the individual in possession of an immense artistic capacity. In fact, our physical bodies are the vehicles or tools for artistic production, so when a person works in harmony with their creative capacity, their mind and body are at ease with the nature of the creativity that resides within them. The artist must be free to create as often and as quickly as they are capable and for this they should be amply rewarded and revered.

Click here to learn more and read the article “Black Hole Creativity.”

Click here to learn more and read the article "The Overflow of Creativity: Why Artists Need to Find New Areas to Conquer, New Worlds to Explore"

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Related Music:

Dutiful Son

Lonely King

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Marc

http://stereothesis.com/

Remember to join our mailing list.

To support Stereo Thesis with a financial donation securely through PayPal, click here.