This article brings so many things to mind, in fact so many things it is blinding. I start to reply but don't know what to say because of the inter-relatedness of everything. As a former musician and composer, I keep thinking of "overtones," any resonant frequency above the fundamental frequency. If something is extremely well tuned, I can't hear the overtones.
There is a group, Take 6, that is an American a cappella gospel sextet formed in 1980. Their "tuning" so to speak is so perfect, that they have to enhance the overtones, especially in recordings, or they would disappear, disrupting the harmonic features of the music.
The only thing I can speak to is that if the fundamental note is tuned well, the overtones are still present and functioning but you can't hear them. Overtones can go into infinity however the frequencies can't be heard by humans.
It seems there is a metaphysical aspect to this. I guess you could say that one fundamental note produces many, so in the Arts, even if you can't "hear" the overtones they are there and they contribute to the fullness of the sound and from what I understand complementary colors can do basically the same thing. I'm not sure.
What I think I am saying is that as an analogy, your work is being "heard" and contributing to the fullness and resonance throughout at a Universal level, and even if you can't "hear" it, Our world does.
All excellent advice to be taken to heart. This one especially stood out for me when you stated: "Resist the need to explain everything. The best work comes from direct seeing, not overthinking." The piece I was working on before the one presently, I had a vision of putting some things into it to explain what I was trying to convey. But then I realized that less was more for this piece and only put one item in the space I was going to put at least 5 and it worked so beautifully for me. That one item spoke volumes of what the piece was meaning to me as it spoke for itself and needed nothing else to explain. Great essay. Big thanks.
This article brings so many things to mind, in fact so many things it is blinding. I start to reply but don't know what to say because of the inter-relatedness of everything. As a former musician and composer, I keep thinking of "overtones," any resonant frequency above the fundamental frequency. If something is extremely well tuned, I can't hear the overtones.
There is a group, Take 6, that is an American a cappella gospel sextet formed in 1980. Their "tuning" so to speak is so perfect, that they have to enhance the overtones, especially in recordings, or they would disappear, disrupting the harmonic features of the music.
The only thing I can speak to is that if the fundamental note is tuned well, the overtones are still present and functioning but you can't hear them. Overtones can go into infinity however the frequencies can't be heard by humans.
It seems there is a metaphysical aspect to this. I guess you could say that one fundamental note produces many, so in the Arts, even if you can't "hear" the overtones they are there and they contribute to the fullness of the sound and from what I understand complementary colors can do basically the same thing. I'm not sure.
What I think I am saying is that as an analogy, your work is being "heard" and contributing to the fullness and resonance throughout at a Universal level, and even if you can't "hear" it, Our world does.
All excellent advice to be taken to heart. This one especially stood out for me when you stated: "Resist the need to explain everything. The best work comes from direct seeing, not overthinking." The piece I was working on before the one presently, I had a vision of putting some things into it to explain what I was trying to convey. But then I realized that less was more for this piece and only put one item in the space I was going to put at least 5 and it worked so beautifully for me. That one item spoke volumes of what the piece was meaning to me as it spoke for itself and needed nothing else to explain. Great essay. Big thanks.
Thanks Annette!