Experiences of seeing, hearing, feeling, and knowing, often compel me to try to communicate those experiences in some way. A sort of obsession with the beauty, with the experience of being in the moment, undulating, flowing, singing, vibarting, simultaneously opens all the senses and quiets the mind in a way that, at least for me, makes translation into words extremely hard. Sometimes I find the words to transmit something of value, but very often I find what I have written is unconvincing or even completely mute.
I need a sort of synesthesia, making translations from what I sense to words more natural or perhaps even involuntary.
Talking or writing about the experience directly, as though it were a story or a play is something I cannot do. The full experience is so rich, so overflowing, so infinite in possibilities that direct representation is clearly unattainable. But, like visual subtleties easier to see with your peripheral vision, something of the experience can be captured indirectly, by way of analogies, of shadows and impressionistic portraits, in reflection, after the experience.
This is why some of the most effective, powerful art is abstract or impressionistic. To transmit infinity, direct representational art, creating an expectation of finiteness, must be abandoned. Minimalism in music, moving us into rhythms and flows that slowly shift us to different states, is again, a sort of indirect encompassing, carrying us somewhere, but not directly. Experiences in nature align with this method of illumination, gently soaking in, moving us, so that we gradually become aware of the fact that we have been transformed, our attention has been shifted, profoundly altering what we see and hear and know.
Quietness — rich, vibrating, living, infinite — finds its way from our experiences to the experience of others as they immerse themselves in our art.
We have, together, attained a sort synesthesia.
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