Harmonics in Syncopated Outlines

Moods and emotions: like volatile ocean currents or streams of magma. Tides and eddies, sometimes tempests, at other times placid; sometimes inexplicable and contrarian while at other times reactive; always affecting us and those who surround us; interactive, like weather patterns. Hail and frost and sleet or sun, shadows and shapes, pleased or forlorn.

I wonder what they’d look like if we could see them, if we could replicate them in film, if we could filter them in infrareds or ultraviolets. Of course, artists do that, they can do anything, they can not only capture moods but tame them, control them, create them. That’s art’s essence. And art can paint them in words as well as in colors, and in tones and melodies and beats. And in aromas and flavors and who knows how else. Just how many senses do we really have for artists to play with?

Is intuition a sense? Are insights really internal or are they subtly induced; what about perceptions and conceptions and preconceptions and instincts and ambers and azures and crimsons and jades. Just what is imagination? Is it novel or just the rearrangement of preexistent conceptions like so much state of the art research so many generate to advance meaningless careers? Thesis, hypothesis, theories and laws in search of elusive truths, unattainable truths replaced by conventions and opinions and myths.

And then

Moods and emotions: like volatile ocean currents or streams of magma. Tides and eddies, sometimes tempests, at other times placid; sometimes inexplicable and contrarian while at other times reactive; always affecting us and those who surround us; interactive, like weather patterns. Hail and frost and sleet or sun, shadows and shapes, pleased or forlorn.

Harmonics in syncopated outlines filled with ecstasy and sorrow.
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© Guillermo Calvo Mahé; Manizales, 2016; all rights reserved