The Emotions of Color: My Manifesto in Making
We turn to color.
We are light reflecting and refracting light in our own image. We resonate deeply, and sometimes, intent or unintended, we fade from alive into living dead and float along, alone, freely failing to fall into frequency within and between selves, admiring shadows, far from resonating at all.
What is communication if not a playful game of catch: capture and cast words like shooting sparks, eyes like telescopic vision or submarine introspection, I is you so essentially us is a ring of fire, halo humanity interacting giving taking, heaving helping hoping hating, self, other, categorically prone to insubordinate uprising and overthrowing systems of over-socialized subordination, constructed to conceive of selves as constructs turn products we produce and make more.
Global economy is electron transfer and planetary tug-o-war, supersonic turning moving slow as molasses with masses tremendous and blessed with the terrible curse to get their own and in the meantime fuck or save anything that should be push out of the concentric path or worse yet, pulled towards the mass like a planetary femme fatale.
We are the present. We ruminate and retroactively stumble into the past where objectivity and inability plague the forefront of thought and the present is moving senseless and time is lost. Lost, are driven by fears that pose threat to the ego, an idea, to the animal (that embodies the essence we are), and thus, we are receiving and received in a waking nightmare, as real as the retinas register.
Colors that make us feel good, secure and safe, smooth the jagged edges, sift symmetry into uneven creases, sooth restlessness–colors that help us forget the outside world. We want colors.
(I lost time in the library book stacks and left with three books not logically related to this assignment but intuition drew me towards them to check out for this assignment nonetheless. I have started reading one, which got me thinking, and those thoughts I outline roughly below.)
The Harmony of Dissonance defends contemporary scholars’ tendency to color T.S. Eliot a hypocrite for the stark juxtapositions in what they claim to be the collective objective of his work, discounting the strength of his purpose, and the valor and amplitude of his impact on modernism and, thus, modernity. The author, comparing The Four Quartets with The Wasteland, incorporates the wisdom that ‘up is down’ and binaries need not be contradicting. The antithetical assertion: dialectical dissonance can create a harmony, a cacophony perhaps, but harmony nonetheless. Flipping metaphors and writing the reverse does not output inverse meaning; rather, such avant guard literature, as explored in the poetry and prose of T.S. Eliot, highlight the frontiers of human language, of human understanding.
My call towards color arises from the rubble of the breakdown, destruction, and misconception of conflict in terms of magneticism, friction, tension, strife, and discord. The way of the world was the way of the past, and socialization, civilization, and industrialization have blindfolded the masses from atop the pedestal bandwagon of time and linearity: progress is a myth that polarized the seed of self to the entirety to humanity, elastically tangential away from the mean of our nature, aloof to residual duality, drifting, aloof, removed, egotistical and numb.
Yet, deep within, the animal is very much in man and the way to bring us back the past, the intertwined intimacy and spiritual understanding of what we term self, of what we term other, of what we term right, wrong, good, evil, black, white, peace, war, is to reconnect with the esoteric and ethereal wisdom developed by our ancient ancestors whose breath was wind, whose rose from and deteriorated into the ecosystem enriching soil and witnessing miraculous exchange of form, shape, motion and conciousness from the vantage point of wading in a river bed watching kin whose bodies no longer contained them buried in the ground below rise up from the tributary under the blood-red sun and evaporate inextricably divine one with water reflecting and absorbing the interconnected image of earth, carrying clarity and luminosity into the sky, turn stars at nightfall and emanate enlightenment twinkling amongst everything in the black sieve vastness of perception.
Unconfined by gravity, countering the conception of category, the gradation, dynamism, and essence of man is revealed, and that essence is the essence of everything and nothing at all, everything and nothing at all, but mostly, we are the prisms of spectacular color spectrum comprising everything and nothing at all.
Developmental and Contemporary Influences: paradigms plaguing post-modernity and a plea to bring back the past to enrich experiencing and expressing conciousness and understanding
When creativity and genius culminate, the shift in conceptual complexity trickles down to the core cultural bone, countering common belief of the structure and function of the universes’ clockwork in case studies that revolutionize cogs in the ream of earth, the intangible and tangible sphere of humanity, continuously tickling and up turning the measurable shape, form, and motion of perceived reality between and amongst cultures, further reverberating the psyche, collective and singular, pervasive in orchestrating the rhythm we sine-wave though life, deeper, the cadence and rhythm drumming and pulsating the beat to which we step, the lyrics we sing in the language we use, and down to the center of the earth, the center of the hearth, the center of self, soul, spirit, the identity. The atomic bomb, a figurative and physical example of Einstein’s expression in manifest creative genius, genius creativity that took spoon-fed reality, reversed the conceptual metaphor and annaliated the fantastic fabrication of time and space into the distilled naked fundamentals, then, began to rebuild. Math, in the case of Einstein, and art in culture are humanity’s means toward the same end: the quest to reach infinity. These mechanism are tools towards transcendence, and to the extent history informs the present, the frontiers of conciousness and the infinite defined by the fences of the knowing and unknowing, create a vacuum in the dissonant space between humans describe in the inability to explain further through the likes of existential philosophy,spirituality, or anthropomorphizing the synaptic blank in space shrouded in mystery ‘god.’ Art is a mirror; rather than stopping and resting in the quest in the explanatory answer of grandiose gods or philosophic and spiritual connections, art surpasses the space between and connects humanity to infinity. Transcendence in the 20th century was achieved through the destruction of a common consensus and out of the rubble rebuilding possibilities of reality, fueled by the creativity and genius of imagination. The works of Einstein, Stravinsky, Picasso and Eliot follow the revolutionary structure and function of this pattern, through which bridged humanity into the modern era.Once again, we have reached a crossroads, and a new era is building under the pressure of conflict from forced categorical polarization riddling minds mad, maniacally puppeteeringcategorical inner and inter warfare and in the face of mass destruction rearing its head as an emanate possibility, a new era will erupt from the masses: are we to idlely wait for the apocalypse or have we, humanity, an alternative? This is a call to the people to initiate a change for the people, connecting to our grassroots, calling upon the past to prescribe a future of synthesis in light of the current global community where we need not annihilate tradition and civilization, but rather, renter with grace and wisdom of our ancestors perspectives of unity: to extract the splinter polarizing self and other and the categorical extrapolation that pit man and self, self against perceived self, and create discord in the harmony of the universe with which we once embraced as blowing conciousness in the cosmic wind.