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Found 7 results

  1. DanielaS

    20140601 Ask Michael

    ASK Michael Live Chat June 1, 2014 Channel: Troy Tolley [ViP] Hi Michael, can you briefly describe the 7 circles of Conscience? [MEntity] For our response to be relevant, we ask if you are speaking in terms of "conscience" being that which is one's inner guide, or do you mean this in terms of awareness, or do you mean this in terms of consciousness? We know these terms are often used interchangeably. [ViP] You recently described "conscience" as being the sense of inner responsibility and compassion that had 7 Circles to it, so perhaps it would be in terms of the inner guide? I can provide the definition you gave if it would help [MEntity] We only wished for the clarification. We understand now. There may be other ways to describe the Circles of Conscience that are relevant to an individual, but we will offer these. Conscience is different from Consciousness and Awareness, but the merging of those three factors are vital for one's evolution, so they are often used interchangeably by the time one is an older soul. Conscience is that inner sense of guidance that one develops and learns to listen to as a means of navigating the life and for making choices. Conscience in its Positive Pole might be INTEGRITY while in the Negative Pole might be GUILT. The 7 Circles of Conscience, then, might be: SELF-NURTURING, SELF-PRESERVATION, SELF-SUFFICIENCY, SELF-DEFINING, SELF-ACCEPTANCE, SELF-ACTUALIZATION, and then SELF-MASTERY. Self-Nurturing Polarities would be CURIOSITY as the Positive Pole, and NEGLECT as the Negative Pole. Self-Preservation Polarities are VITALITY and DEFENSE, positive and negative, respectively. Self-Preservation would be VITALITY, and DEFENSE. Self-Sufficiency would be GENEROSITY, and PANIC. Self-Defining would be COMPASSION, and LOATHING. Self-Acceptance would be SOCIAL, and LONELINESS. Self-Actualizing would be EMPATHY and DENIAL. Self-Mastery would be RESPONSIBLE, and CONTROLLING. Many of our students often hover in the circles between Self-definition and Self-Mastery. We can elaborate upon this topic in a dedicated discussion. [Colleen] In 1937, Amelia Earhart disappeared. What became of her and what was her soul age, role, and overleaves? [MEntity] The fragment in question would be the Intellectually-Centered, Moving Part, 7th Level Young Scholar with the Goal of Flow that she would slide to Growth and Submission; an Idealist in Observation that slid to Passion, and a Chief Feature of Arrogance. This fragment appears to have encountered technical issues in-flight and was forced to crash-land near an island where she and her Task Companion lived out the rest of their days. [Kurtis] Hi Michael, like with the descriptions of the Server, Artisan and Warrior castings last Ask Michael, could you provide info on the Scholar-cast in those same formats? [MEntity] Scholar-Casting often shows up as heightened sensitivity, often felt in deep, emotional ways that "make no sense." This is often interpreted by the Scholar-cast as such a vulnerability that they often are the most secretive and "personal" with their exploration of the life. This Casting often gravitates toward anyone who can help them to "come out of themselves" in a way that is uninhibited and less self-conscious. This Casting often generates in the lifetime a love/hate, push/pull relationship with intimacy, at once desiring it greatly, but also convincing themselves that it is an unnecessary distraction. The Scholar-cast often struggles with his or her attention being fixated or fulfilled. In other words, when fixated, it is a means of escape, while when fulfilled, it is a product of exploration. These fragments can be of the most "kinky" of all. The Scholar-cast, more than even the Sage, or Sage-cast, can require feedback for insight into themselves, into the life, and the patterns of that life; they must "bounce" ideas off of others, see and hear these ideas played out in some way, so as to better navigate the library of thought that they carry. This can sometimes turn into a kind of paralysis if that sharing is not fulfilled in some way, locking them down with a sense of defeat for not having anyone to share those ideas and ideals with. We can always elaborate upon any of our terms, but for the sake of taking more questions today, we think this is a helpful start. [annay] Do we create more karma with people we end relationships with? Lets say if the other person is not happy with you ending the relationship ? Would you have to work it out in another life?? Even if you have forgiven the person yourself?? [MEntity] Anna, there is no categorical response that we can give to that question. The nature of Karma is so relative, that in one instance there may be Karma, while in another of the same circumstances, there is not. However, we can say that the ending of a relationship does not often generate a Ribbon only from the mere ending of the relationship, however difficult that may be for either party. Disappointment and grief are not inherently Karmic. If the one who ends the relationship has put the other party in some form of danger, or has significantly interfered with the capacity of the other party to choose, then a Ribbon can be generated. By "interfered" we mean that there is an active imposition on the capacity to choose. We are not speaking of the grief-stricken reactions that can impose restrictions of choice on the self. That is self-karmic, but not Karmic between the ones who have parted. If disappointment and grief were Karmic, we doubt we would ever return to Tao. [royce] Hello Michael , recently I asked about Objective Art vs Subjective art. I would like to take that into the realm of Modern storytelling. I don't feel there are a lot of examples of "Objective storytelling"; how might it differ in terms of approach than a lot of what we see in cinemas today? still lean heavily on suspense? horror? [MEntity] Before we reply, what do you mean by the additional end of your question? Are you asking if suspense and horror are ways to be Objective, or are you rhetorically suggesting that cinema leans heavily on suspense and horror? Please clarify. [royce] basically if a story was written with the intention of being objective art ( made with all of the centers) how might it look in comparison to a lot of stories out today which is more or less aimed to be emotional roller coasters. would objective art movies look almost entirely alien to us in how they would be approached? [MEntity] We understand and will respond. The effects of art are not often a fair representation of its origins. Objective and Subjective Arts can be interpreted and experienced in any number of ways relative to the interpreter. In fact, a great deal of Objective Art is "hated." It is not often received well. It is often threatening to the comforts and familiarities of the Personality. The same goes for genres. There can be Objective Horror and Subjective Horror. Objective and Subjective Art can only really describe the sources. However, there is validity to the fact that the source can have some effect, of course, but the individuals receiving/interpreting that art will always have the final say for how it is experienced. In terms of modern storytelling, a great shift is already in motion away from passive storytelling and into interactive storytelling. As we, as sentience, are now in the Century of Choice as a Platform for the species, CHOICE is becoming the vital key to a truly Objective method of storytelling. Modern gaming is already on the cutting edge of this, with Sages, Artisans, and Scholars flocking to its initial waves to help refine, expand upon, and spread its foundations. This move away from passive storytelling and into interactive storytelling is yet another expansion of impact from the shift in Soul Age away from Young to Mature. In that regard, it is an evolution, and represents Objective Art, as the source of that creativity must be inclusive, considering the broadest range of perceptions, paths, and probabilities as a means to fulfill the core of a story. We have never seen anything like it, and we find it beautiful. We often "sit in" with Troy as he plays. We are finding there is little difference between the architecture of gaming, and the process of incarnation, parallels, and probabilities. All higher concepts are eventually reflected in the Physical Plane in some way, and this dimension of existence is finding its footing. [Maureen] Michael, you said (to my sister): “Your higher Frequency and higher Female Energy allows you to endure much more than would someone with a lower Frequency, or Higher Male Energy. That endurance allows far more opportunities for healing that might not have been explored, otherwise.” Would you elaborate more on how endurance is experienced through the Higher/Lower Frequencies and Higher/Lower Male/Female Energy? [MEntity] Endurance can be a tool for any Frequency or Energy Ratio, but they would tend to show up differently. In Higher Frequencies, endurance is utilized by cycling through experiences of challenge so that no cycle through it is too deep or too much. That is not to say that a challenge might not feel or seem to be "too much, or too deep," but in the end it would not be. Higher Frequency fragments tend to work through experiences in layers, move on to other experiences, and other experiences, and then cycle back through. This helps bring about cycles of healing between cycles of challenge. Higher Creative/Female Energy helps one to emphasize problem-solving, intuitive navigation, and a trust in chaos, which leads one to having a greater endurance in terms of allowing challenges to be a part of the life. The pros of both of these can be that both allow room for healing. For the Lower Frequency fragments, there is still processing in layers, but it is from the inside/out of the experience, rather than from the outside/in. Higher Frequency fragments eventually get to the core, while Lower Frequency fragments start at the core. Because of this start at the core, there is little room for moving beyond the layers "above them" in that experience. They must find a way through all of those layers. Because of this dynamic, it can be difficult to access the healing that could be of benefit to that Lower Frequency. The Healing would tend to come in near the exit of the layers, if you will, and not often before that. That is not to say that healing is not available to the Lower Frequency when submerged in the core of an experience, but that they often do not allow for it. For the Higher Male fragments, the navigation of experiences can be one of a linear nature, structured, and intent, with a laser-like focus, which can also exclude anything distracting, such as healing. Again, it is not that healing is not available to the Higher Male/Focused Energy, but that it often must find its way into the path so as not to be a distraction. Does this help? [Maureen] Yes it does [MEntity] We must conclude here for today. Good evening to everyone.
  2. I stumbled upon this Ted Talks video showing how a cityboard was inspired to listen to the ideas of youth in their architectural planning and layout of a city. After watching it suddenly dawned on me that this is something we will see more and more in the Mature Soul Paradigm. Both in physical reality & virtual.   It is a very Artisan video, showcasing the art and creativity of children & how great the divide is between our childhood innocence and our adulthood responsibilities. The video shows a good start to bridging this divide.
  3. A bit of a prelude: I was in a state of mental distress yesterday because recently I've been short-circuiting trying to manage all the energy+ideas flowing through me. My parents are away right now, so I'm in charge of taking care of the dogs as my sister is also here but she works on the weekends- which hasn't been overly easy as we have a near-2 year old puppy that is very hyper-active and constantly wants to move and play. Because I was already feeling the blunt of self-delegation, I needed to take a break from watching over the dogs and headed downstairs with the door shut for a bit. I was going to sleep off the day, but my parents ended up calling, forcing me to stay awake. I decided I'd just surf youtube for a bit and calm down. I'm glad I did, because I've recently started getting a bunch of ads about creative programs that outlay the traditional models of education and lifestyle (12 years of School+University -> Arduous Career Life+Create a Family -> Retirement). They've reminded me of the changes toward entrepreneurship, digital accessibility and prosumerism that are a part of our Mature Soul Age shift and Resource-based Economy shift. So I ended up getting another one of these ads from Shonda Rhimes, a content creator and producer of Grey's Anatomy, How to get Away with Murder & Scandal- which caught my eye since those are shows my mom has always watched. I usually move away from these ads, because although I find them interesting and useful, I do not have a current plan towards investing in this transition yet & the information is irrelevant to whatever video I'm wanting to watch. I decided to listen though because I guess something about Shonda caught my attention, which led me on a little trip through videos and articles on Shonda Rhimes. One such video on TED Talks relayed the need for us to play & have fun in life in order for us to return a sense of productivity, passion and love. That certainly struck a chord because I was resisting playing with my hyperactive dog because he always wants to play & I want to focus on other things (even thought those things may be keeping me stuck in a rut). Which then led me to another video by Shonda with Cyndi Stivers about the future of storytelling- which again is super enticing to watch. I suspect Shonda Rhimes is in my Mentor and Muse positions- reflecting something like FLEXIBLE CREATIVITY. She definitely seems to have a Priority of Career, with what I think is a Primary Shame of Desperation. I think she's an Artisan-cast Scholar, with a CR of Experimentation and a GJ of Mediation or Integration on the Truth Side of an Entity 4- but you never know. Anyways here's the video: In a bit more depth: the two ladies talk about how virtual reality, freedom of expression, greater interactivity and inter-connectivity do and will play into the evolution of art and storytelling. It makes me even more excited for the possibilities of the future considering all the stuff discussed is what I'm seeing, literally, on Youtube.
  4. Kasia

    Objective Art vs. Subjective Art

    [Excerpt from Michael Speaks: December 2013] Hi michael, I have a question concerning OBJECTIVE art ( as stated by gurdjieff and OSHO) vs. Subjective art. What is your description of the differences between them and what centers are utilized? [MEntity] In terms that differentiate the arts as Subjective versus Objective, one is a function of an individual's subconsciousness, various layers of processes, including those that tap into collective consciousness, yet all of which are interpretative and rather metaphorical. Whereas the Objective is utterly its own, standing as itself, with or without meaning, metaphor, and relevance. When the Subjective is referred to as "soulless," it was not intended to mean "less than," but more to represent the perspective of Personality, the temporal. That art which is Objective is of Essence, or at least, of the Personality that is awake. Subjective art represents something. Objective art represents itself. Most of what passes as "art" is not of Essence, is "soulless," if you will. It is of Personality, and that is about as derogatory as saying that a single lifetime is the result of the choices of Personality, not necessarily those of the soul. All of the Lower Centers are involved when Subjective Art is created. ALL of the Centers are involved when Objective Art is created.
  5. http://www.sadanduseless.com/2015/09/famous-painters/
  6. Flavio Marchesin

    Musicianship and reincarnation

    Hello Michael, I just watched a documentary about the artist named Amy Winehouse, who died in 2011. Although I was not too much into her music at the time she was alive, as a musician myself I'm always interested in all kinds of music and musicians. So I found out that she was a real prodigy. Her singing style and musicianship were very mature for someone that age. Also, I'm seeing lots of musicians like her nowadays. An example would be 11 year-old jazz pianist Joey Alexander. I can understand a child playing a classical tune which all you need is (lots of) ability, but that's more mechanical, after all you're reproducing something. But jazz is a completely different thing, most people dedicate their entire life to develop their style and technique, and these two examples are from already developed musicians at a very young age. So my question is: was Amy Winehouse a reincarnation of some great jazz singer? I can see the connection not just because of her high developed musicianship and music taste (she said she was always more interested in great musicians from the past and didn't see anything valuable in today's radio music), but also because of her troubled life and drug relation (reminded me of a few great jazz singers from the past). As a musician myself, I'm very interested if I'm gonna forget everything I'm learning in this life on my next lives! Another question is: during my life I was always involved in musical projects that were just a little tiny step of "getting to the next level", as they say. But on uncountable times a little small detail made everything go to the dumpster. Is there a karmic issue preventing me from achieving my artistic goals? Thank you and sorry about my English, I'm not an English native speaker...
  7. Stickyflames

    Art and stories

    Art and Stories ( A collection of questions relating to art and storytelling I have asked the Michaels over the year, channeled by Troy)Objective vs Subjective ArtHi michael, I have a question concerning OBJECTIVE art ( as stated by gurdjieff and OSHO) vs. Subjective art. What is your description of the differences between them and what centers are utilied? [MEntity] In terms that differentiate the arts as Subjective versus Objective, one is a function of an individual's subconsciousness, various layers of processes, including those that tap into collective consciousness, yet all of which are interpretative and rather metaphorical. Whereas the Objective is utterly its own, standing as itself, with or without meaning, metaphor, and relevance. When the Subjective is referred to as "soulless," it was not intended to mean "less than," but more to represent the perspective of Personality, the temporal. That art which is Objective is of Essence, or at least, of the Personality that is awake.Subjective art represents something. Objective art represents itself. Most of what passes as "art" is not of Essence, is "soulless," if you will. It is of Personality, and that is about as derogatory as saying that a single lifetime is the result of the choices of Personality, not necessarily those of the soul.All of the Lower Centers are involved when Subjective Art is created. ALL of the Centers are involved when Objective Art is created. Modern StorytellingHello Michael , recently I asked about Objective Art vs Subjective art. I would like to take that into the realm of Modern storytelling. I don't feel there are a lot of examples of "Objective storytelling"; how might it differ in terms of approach than a lot of what we see in cinemas today? [MEntity] The effects of art are not often a fair representation of its origins. Objective and Subjective Arts can be interpreted and experienced in any number of ways relative to the interpretor. In fact, a great deal of Objective Art is "hated." It is not often received well. It is often threatening to the comforts and familiarities of the Personality. The same goes for genres. There can be Objective Horror and Subjective Horror. Objective and Subjective Art can only really describe the sources. However, there is validity to the fact that the source can have some effect, of course, but the individuals receiving/interpreting that art will always have the final say for how it is experienced. In terms of modern storytelling, a great shift is already in motion away from passive storytelling and into interactive storytelling. As we, as sentience, are now in the Century of Choice as a Platform for the spcies, CHOICE is becoming the vital key to a truly Objective method of storytelling. Modern gaming is already on the cutting edge of this, with Sages, Artisans, and Scholars flocking to its intial waves to help refine, expand upon, and spread its foundations. This move away from passive storytelling and into interactive storytelling is yet another expansion of impact from the shift in Soul Age away from Young to Mature. In that regard, it is an evolution, and represents Objective Art, as the source of that creativity must be inclusive, considering the broadest range of perceptions, paths, and probabilities as a means to fulfill the core of a story. We have never seen anything like it, and we find it beautiful. We often "sit in" with Troy as he plays. We are finding there is little difference between the architecture of gaming, and the process of incarnation, parallels, and probabilities. All higher concepts are eventually reflected in the Physical Plane in some way, and this dimension of existence is finding its footing. OLD SOUL ART Art as I know it at its best is a reflection of the mysterious, the wonder, the beyond words . As the world begins to approach an old soul paradigm in a few hundred year or so...how would art change. would it still be neccessary in the ways we know it? as more PEOPLE become the reflection of that WONDER that art encapsulated, what place will ART have in that world? [MEntity] Though this varies among Old Soul worlds, Art escalates in range and importance among all of them. It is often no longer confined to a specific range of media or obvious creativity, but comes to include the entire life of an individual, how he or she creates his or her day, etc. This is already being glanced at in your current paradigm, though colored heavily by Young Soul filters. "Reality TV" is, at its heart, a glimpse of Old Soul Art. Becoming a celebrity only because one has become a celebrity is also a distorted form of Old Soul Art. These things may be repulsive to older souls as they are being presented now, but these hint at an undercurrent of acknowledgement of the LIFE as ART. In many Old Soul worlds, Art is entirely experiential and temporal. Exhibitions are sunsets that can never been seen again, or gatherings where spontaneous suggestions are matched up with random individuals who must then perform, create, or do the suggestion, even if it is well outside of their talents. This leads to great rounds of humor and levity that is often at the core of Old Soul arts. Interactivity is highly important to the Old Soul world of art, as well. For example, one installation we know of is something like a steep hill of xylophone-like panels that are carefully arranged in ways that an individual could dance down this hill in any number of ways to create his or her song of spontaneity. Collaborative art is highly important to the Old Soul world of art, as well. In many probabilities, holographic-like galleries are "online" for contributors to create projects that can be altered by anyone from anywhere. No walk through that gallery is met with the same version of the art. Interactivity, Collaboration, Temporal/Amorphous, and spontaneous are key traits for Old Soul arts, though we caution against presuming these traits are definitive. There is more we can say to this subject. On Originality I have a question about ORIGINALITY...i'm sure many artists suffer with this block of needing to be original. though upon looking at my favourite artists i wouldn't say their work is at all without influence...so what is it we are responding to when we say something is original? Is it the enthusiasm from the artist making it? Is there such thing as originality? I would love your take on originality to help put an end to this ancient crisis of the artist once and for all." [MEntity] Originality is valid. Originality does not preclude influence and inspiration. There is a difference between originality that is inspired, and one who is copying or imitating. If one of our students were to write a book about his or her experiences of our teaching and conveyed that in a way that teaches what was learned, it will not matter that the core of what is being taught did not originate with that student. What matters is his or her original take on that, as he or she was inspired. Not even our own teaching originates from us, but is utterly original. We only teach our take on the truth, love, and energy that originated beyond us. But our teaching is utterly original in its form. Originality is what one does with one's inspiration. Beyond this, the judgments will continue to be subjective in terms of what is "truly" original, or not, but the dividing line fairly clearoriginality is inspired, while non-originality is a copy, imitation, or mimicking. For instance, one does not need be inspired to put together a model airplane, or to sing a song that is a pop formula created by someone else. One may feel inspired, but the form taken is not. It is copied. It is mimicked. It is an attempt to capture what was inspired in the original. Andy Warhol was an artist with originality, and he exemplifies the precarious, but clear line between copy and creation. Consider one more thing when pondering originalityyou are utterly original. You are utterly unique. You are a single idea that will never be replicated. Yet you are not new. You are an evolution. You are built upon inspiration. You are not a copy, though "you" have existed multiple times. Art is similar. Let your art, your originality, be an evolution built upon inspiration, and you will relieve yourself of this perplexing and distracting concern.
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