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"The art object, which is a kind of 'thing', is also a kind of 'soul'. The imagery of art and of religion, the persisting idea, whether personified or not, of an absolute good or moral ground, provide fortifying reflections, pictures, a***ogies of an active unified self. We are still surrounded by sources of energy which may maintain our 'self-confidence'. Our intuition helps out what is fragmentary to produce an idea of unity and in this mirror we see ourselves. It is in the critique of elements of illusion in this process that something essential may be lost."

• Iris Murdoch, Metaphysics as a Guide to Morals

"That is, we should under stand composition and improvisation as overlapping, situated on a continuum, and expressed in degrees rather than as distinct and unrelated practices. This recognition of music's flexible ontology and the overlapping and interrelated character of composition and improvisation opens up a new paradigm for understanding what music is. In other words, a musical piece is not a static product created (once and for all) by a single composer. Rather, a musical piece is dynamic and is (re)created by many performers qua co-composers. Consequently, music is also profoundly communal. That is, it comes into being and is maintained in existence through practices and traditions that themselves develop and change."

• Cynthia R. Nielsen, Interstitial Soundings

royalsocietypublishing.org/doi/10.1098/rspb.2020.0825

Abstract:

"Perceiving the positions of objects is a prerequisite for most other visual and visuomotor functions, but human perception of object position varies from one individual to the next. The source of these individual differences in perceived position and their perceptual consequences are unknown. Here, we tested whether idiosyncratic biases in the underlying representation of visual space propagate across different levels of visual processing. In Experiment 1, using a position matching task, we found stable, observer-specific compressions and expansions within local regions throughout the visual field. We then measured Vernier acuity (Experiment 2) and perceived size of objects (Experiment 3) across the visual field and found that individualized spatial distortions were closely associated with variations in both visual acuity and apparent object size. Our results reveal idiosyncratic biases in perceived position and size, originating from a heterogeneous spatial resolution that carries across the visual hierarchy."

How do you see a soul in a world full of I's?

Lethal.

An inability to assimilate / a barrier in doing so. To provide metaphysical value outside of ones immediate life, to create language is to impact. Language has the propensity to impact more than money. Language, inherently thoughts are the closest thing to consciousness we have. Communication in a sense is language, in this way language may not be just spoken word, but rather a confluence of all the ways in which communication takes place. This is a within art, science, fashion, etc. Some people are unaware of how they communicate within the world, and how their communication impacts the world, and coincidentally the world will then reflect that back on them. It is almost like yin and yang with the external world. There is a desire to "fit in", coalesce and go along. The social pressures to do so are vast.

Some language is just experience, tone, do they ever feel at ease. Just subtle glimpses of calm followed by the elixir of experience. How I see it, or is that just an impression. How would you know anyways? There is a degree to which it may be impossible to really understand an individual.

"Of the movement towards impulsive self-expression van both the genesis and the genius. He strove to convey and very often in looking at his work one feels something akin to the sensation of listening to someone speak a foreign language so vehemently that it simply must be understood. In the art of van Gogh, and in that of Ensor and Munch, and to some extent in that of Gauguin and Toulouse-Lautrec, artistic ex pression became a psychic necessity to individual well-being. And, yet, the thing most common to them all is rage: 'They rage against everything that gives permanence and continuity to life and they rage against them selves, as if they were anxious to exterminate everything in their own nature which they have in common with others.'

Art became for them more important than human companionship or creature comfort; they all subjected themselves to cruel monastic disci pline and forwent the personal and private happiness that normal society affords. Ensor sold his soul to art and the salon, then attacked both, making his virtuosity into an instrument of destruction and symbolically annihilating whole herds of philistines. Van Gogh became a saint, a fanatically inspired genius, demanding money from his brother despite everything and then spending it on brushes and canvas while he subsisted mostly on coffee and alcohol. All led dreadful lives, fell into sordid semal entanglements, companioned criminals, died of venereal disease, went in sane, or committed suicide. Still, they were great creators in spite of, nut because of, their disturbances. Only a man in a most lucid frame of mind could have painted the oeuvre of Vincent van Gogh; even when under going seizures he acted towards his crises with more intensity, intelligence and will than do other schizophrenics.

Art was all that tied these men to reality; without it life was in sufferable; with it they were able to appease the poignant longing for personal distinctiveness that was general among their notion of anonymity to which this longing was related is today quite commonplace."

• John Adkins Richardson, Modern art and Scientific Throught

!dream Max Ernst, painting, dolphin, surreal, unreal engine, sharp focus, high detail, 8k, cinema4d, cinematic, ultra wide angle lens, blender, octane render

!dream Max Ernst, painting, dolphin, surreal, unreal engine, sharp focus, high detail, 8k, cinema4d, cinematic, ultra wide angle lens, blender, octane render

!dream Max Ernst, painting, dolphin, surreal, unreal engine, sharp focus, high detail, 8k, cinema4d, cinematic, ultra wide angle lens, blender, octane render

!dream Max Ernst, painting, dolphin, surreal, in space unreal engine, sharp focus, high detail, 8k, cinema4d, cinematic, ultra wide angle lens, blender, octane render

!dream Max Ernst, painting, dolphin, surreal, in space, unreal engine, sharp focus, high detail, 8k, cinema4d, cinematic, ultra wide angle lens, blender, octane render

!dream Max Ernst, dolphin, surreal, unreal engine, sharp focus, high detail, 8k, cinema4d, cinematic, ultra wide angle lens, blender, octane render

!dream Max Ernst, dolphin, surreal, unreal engine, sharp focus, high detail, 8k, cinema4d, cinematic, ultra wide angle lens, blender, octane render

!dream cybernetic battle dolphin, hyper real, ultra real, octane render, unreal engine, fighting in space, sharp focus, extremely detailed, Shot on 70mm, F/2.8, high Contrast, 8K, Cinematic Lighting, Volumetric Lighting

!dream cybernetic battle dolphin, hyper real, ultra real, octane render, unreal engine, sharp focus, extremely detailed, Shot on 70mm, F/2.8, high Contrast, 8K, Cinematic Lighting, Volumetric Lighting

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Now we getting somewhere

dream cybernetic battle dolphin, hyper real, ultra real, octane render, unreal engine, sharp focus, metal head, bionic eye, extremely detailed, Shot on 70mm, F/2.8, high Contrast, 8K, Cinematic Lighting, Volumetric Lighting

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