April 28

Emotional Time and Space Grid

ae12The nature of all emotion is as a smooth progression of one emotion leading to another by increases or decreases in volume or intensity. More or less of one emotion leads you into the next nearby emotion above or below it.

In general, everyday experience carries us through an ebb and flow of emotions within a limited range. But under those rare circumstances, human emotion gets rattled by an intense personal experience that changes the smooth ebbing and flowing and turns it into a jagged, tumultuous mental environment.

This is what makes art, in all its forms, a focal point in all cultures because it expands the normal range of our emotional experiences through our perceptions. If the art possesses just the right formula it disturbs the landscape of consciousness and activates the mind’s scanners.

As these scanners detect the source of disturbance and focus on it, attention begins to pool and collect in that area and reverberates. Attention pours into that starting point and will rise into a stretched wave, suspended across time, as the mind continues receiving a constant stream of information. The wave rises and falls as the signal increases and decreases in intensity or volume.

Art expressed with a narrow range of dynamic components translates into emotions expressed within a narrow band of feeling. To expand feeling one has to expand the range of dynamic elements to approach the analogue quality of human emotions. Once the force of an artwork has captured the attention of the mind it is brought to the emotional time and space grid.

The time and space of an emotion is a precise convergence of factors that align in such a way so as to produce a series of perceptions similar in tone as the emotion in question. Art brings creative work to this point when the convergence of factors impacts the mind with sufficient force to call forth or evoke a particular emotion or emotional experience.

Try to imagine that the mind is a grid spread out as a single plane. It’s this plane that stands between the senses along with the outside world and our memories and subconscious. So what happens is that as the senses flow in perceptions they are sent through this grid and sorted by some kind of signal recognition relay switch into which sets of perceptions get put in the appropriate slots of emotion so as to access certain recent memories or memories from a long forgotten past.

All memories can be accessed by a unique blueprint of emotion. One might be able to describe such a blueprint by percentages such as 20% “anger,” 50% “disgust,” and 15% “fear.” Even groups of memories tend to cluster around emotional blueprints with specific characteristics in such a compact manner that they sometimes produce mass, which a person registers as a kind of heaviness in the mind. The more mass is built around such a cluster, the more we feel as if the emotional floodgates will weaken and break to overwhelm us in a tsunami of emotion.

The emotional time and space grid is similar to a coordinate system drawn on a globe or map, where art impacts the senses and targets the emotions in a particular way to cause a reaction unique to each individual. The action that produces this experience occurs automatically, but is programmed by the individual or with the individual’s consent by another. Each emotion has an exact “location” in our mental world.

The strength of the artist lies in their ability to master the techniques in their field and use them to produce emotional experiences in the minds of their audience. The power of art is in its ability to target one of these locations in the mind specifically to “turn on” the emotions in that area and to bring back the memories associated with that particular emotional blueprint. The emotions come first to affect a physiological response, then the memories cluster into a mass. Ineffective works of art typically produce a very mild but unregistered response. Successful works of art operate to either bring in more mass or sustain the existing mass. This is what elevates the perception of art into an emotional experience for the individual.

Science has yet to be able to establish the exact coordinates to any one of the emotion within the universe of our minds. So for now the only techniques that are available to evoke the emotions exist within those studies that range the field of aesthetics. All fields of creative work from architecture to cosmetology inherently possess the ability to impact the emotional time and space of an individual.

Smooth lines, slopes, and treacherous mountain ranges comprise the terrain of the mind when the emotions are activated, so one needs a map with accurate details to navigate its environment. Art is the stimuli, our memories are the map and the dynamic components of each art form are the instruments for navigating the emotional landscape in our minds.

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April 22

Intensity of Emotion in Art

ae11The intensity of emotion is best expressed by using the dynamic methods of an art form. Every creative subject has its own formalized approaches for dynamic usage, but in general dynamics are tools we can use as options for increasing or decreasing the amount of emotion flowing between artist and audience.

The flow of emotion through art is a two-way flow occurring between two terminals – the artist’s mind and the audience’s mind. The flow is smooth when the emotional impact sends a feedback signal that is regular and consistent, but rough and jagged when inconsistencies cause disturbances to the balance of smoothness. Both of these effects change by manipulating the types of emotions in question with their artistic dynamic equivalents.

The emotional impact of a dynamic component can be altered in one of two basic categories: suddenly and gradually.

A sudden impact will manifest as a punch or direct influence with no subtlety about it, but sometimes it will occur as a harmonious and seamless emergence within a work of art. In contrast, a gradual emotional impact will usually seem to come from a far distance or an unexpected angle by slowly drawing an increasing amount of the audience’s attention to it for a pleasing surprise.

Using dynamics as a diagnostic tool is a way of testing, measuring, and adjusting the intensity of emotion in an art form.

Gradual change or a sudden impact basically comprise all types of dynamic categories, but it’s the combination, structure and timing of each of these elements that alter the distribution of emotional intensity in creative work.

By pushing some dynamic factors to extremes and reducing others to levels where you’d hardly notice their presence, you begin to get a feel for how each factor will interact with every other factor you’re using.

Here are a few dynamic components that an artist must control in any of their creative works that give them the power to alter the intensity of emotion as well as the emotional impact that is in their product.


















In whatever manner an artist uses dynamic components to generate new and unique artistic experiences, it is very important that the work expresses a clear statement and definite idea that is truly the artist’s creative vision. A simple concept, short phrase, ingredient list, color scheme, or dramatic theme are all great places to start.

Once you’ve got a basis or foundation from which to grow and build a composition, it’s easy to begin testing different dynamic components to determine the results of each experiment. Note taking can be extremely helpful and invaluable during this part of the process so as to trace your line of progress.

The process will soon accelerate and bring you even closer to the end product. Each line of progress will reveal some new element, an interesting combination of factors, or an unusual result that can be re-created and explored at a later time.

One of the most important keys to forming successful pieces of art is by illustrating in its structure how the result developed or grew. The combination of elements should form a harmony or balance of factors that seem like they couldn’t have existed apart from each other or that they somehow always belonged together.

Ultimately, the goal of experimenting with various dynamic elements is to make discoveries through unexpected surprises, marvelous accidents, or clever feats of chance that couldn’t have been planned in advance. This is the realm of game-changing artistic products, which are truly ground-breaking, and that usher in “the new” and set trends.

Every artistic idea possesses a little piece of the artist himself and becomes imbued with part of their life energy. This is part of the alchemy of creative work, where the artist extends himself into the work of art and the piece begins to take on a life of its own.

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April 14

Artistic Decisions and the Flow of Energy


Indecision stops the flow of creative energy and prevents an artist’s vision from taking shape. It fills us with low-order ideas and points us in numerous unproductive directions.

Fear causes indecision and paralyzes us from moving forward. It prevents us from committing to specific ideas and making efforts in certain directions. Fear leads to second-guessing, doubts about our abilities, undermines our desire for creative expression.

The creative clog in our minds caused by indecision and fear eventually overflows and becomes a dispersal of creative thought that wastes good ideas and motivations in solid artistic directions.

Challenging artistic creations that have a daring edge to them can sometimes shock us and cause us to hesitate from bringing them to completion. Fear of transmitting this shocking effect to others and the way we imagine their resultant opinions about our new ideas, which could be our best work is another form of artistic indecision, which stems from the fear of hurting or offending others with ideas, manners, or through the violation of a societal norm.


Decision opens our mental valves to allow the flow of creativity to fill our works of art. To maintain a steady flow of creative energy you’ll have to constantly be making decisions that will help you progress through each project.

Little decisions can be made almost instantaneously, while big decisions will have to be carefully formed over a period of time. For the sake of actually achieving your artistic vision, postponing the project may be a valid option to prevent a big decision from being made hastily since this can bring everything we’ve worked on to ruin.

In music, decisions must be made regarding the shape of a melodic line, the number of instruments to be used, and the arrangement of the parts. In cooking, the decisions will focus on the type of ingredients, their proportions, and the visual presentation. In illustration, the colors, type of paper, and subject will have to be decided upon before and during the entire process until the project is complete. In every creative field, the artist or designer must be able to operate by making a consistent stream of decisions without end or hesitation.

Openness of Mind

A cloud of unknowing can be filled with innumerable factors related to the realization of our artistic vision, such as doubt and fear, which can prevent a decision from getting made. This is why a Zen-like attitude about creative work must be cultivated in every one of us, so as to keep our artistic energy in a constant state of flow.

Living itself can have an artistic quality to it if the person doing it approaches life with a signature, personalized style.
With an openness of mind that doesn’t attempt to regulate the flow of artistic energy, it becomes easier to assess all the factors which must be considered for inclusion or removal from any one of our works.

A mindset that doesn’t take into account the critical opinions of others finds that it is much smoother to sift through the elements of a piece so that they coalesce naturally into the artistic structure we were seeking or not seeking, but surprised us by evolving out of the process.

The more the decision-making process takes on the characteristic of a smooth flowing stream of artistic expression unregulated by social conventions, the doubt and fear will dissipate and the power of choice will operate naturally and with ease.

When the artist is able to assume an openness of mind the speed of artistic creation will accelerate and bring them quickly to the completion of every project. The fulfillment of your creative vision will simply flow and always be readily available.

So when the final pieces of a creative puzzle fall into place, and what was once a cloud of uncertainty encircling you, dissipates, and solidifies into a tangible product, the flow of living energy from you will slow and once again return to a restful state. From this point of rest you will be free to refresh yourself in other activities or begin again to follow the course of new art work.

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April 4

Art For All to Enjoy

ae9I think sometimes we people in the arts take ourselves way too seriously, sometimes we think way too highly of ourselves. Yes we’re creating something, yes we can do great things with God’s guidance and help. And always with his help. Some of us leave out God altogether, some of us think we’re smarter than God, heck some of us even say we created God and not the other way around. Whatever, but anyway.

And yes, the world is a better place because of art. But that doesn’t mean everyone is going to like what we do, what we profess to be ‘art’. That doesn’t mean that we should expect everyone to applaud our efforts. Sometimes a fair amount of crap passes as art, because it is different, because it challenges industry standards and in some way disturbs the mind. But there should always be a standard, there must always be form and substance. If not, then it’s just a lifeless disaster, a blob of mess, not art, be it in whatever format.

And it certainly doesn’t mean that we are better than anyone else because we are artistically inclined. It just means we see things differently, and different isn’t necessarily good or bad, it’s just different.

If the people who call themselves artists wish to be accepted and respected for who they are and what they produce, then they must humble themselves and think like the average citizen. Because we all NEED each other, each one of us.

If not, then an artist is nothing more than an aristocratic snob and what good is that to anyone?

I’m not trying to insult anyone here, I just often find myself in conversations with artistically inclined people, and when certain names are mentioned as if to lend credibility to their story, and if by chance I don’t know those names, then it’s almost as if I’m not on their level. Which is so funny and childish, because we all came to do what we do via different paths.

The thing about art, like everything else in life, is that it’s all a matter of opinion.

Someone reading this might think I’m a myopic, ignorant fool.

I do know I’m not a fan of abstract art, nor death metal music, and I’m not into the ballet. But that doesn’t mean I can go to show once in a while and appreciate what I see on the stage.

But that’s just me, that’s my humble opinion.

Art is made for all to enjoy. Not just a few. And understanding art doesn’t make you smarter than anyone else.

Art, in all its’ various forms and fashion is for the people.

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