Thanks!
Not so much in fact ... But there's an interesting cap to pass : you must forget about the shape and work into the matter, with charcoal it means
light! So sensual, you draw with your whole body (in fact only the hands, but your body starts to get dirty after a few minutes) and almost never with
the charcoal. The humidity on fingers is necessary ... What I draw here is only on standard paper, A4, with 3B pencil and gum bread. I trained myself
in order to draw during a long journey : I traveled without camera.
Painting is about something else, it's about mixing colors. Here too there is a cap to pass, that of seeing shades of colors in the dark. Nothing is
completely black. There's a sort of 'grammar' to learn like the one for harmony in a way. Also I wanted to travel light (I was ridding a bicycle), the
material is more consistent and harder to obtain for painting than drawing.
Quote: Originally posted by littleseb  | | for me it is very important to counter-act a creative activity with another one. partly to use a different part of the brain (or to let newly acquired
skills sink in), partly to incorporate newly explored stuff into other art forms. |
For me too, but I'm not a pro, I don't know exactly but I play about 6/7 hours per week, if I diluted this time in many form of arts I just do scratch
the surface.
| Quote: Originally posted by littleseb | | i don't know why maqamat take on certain shapes and colours for me, synaesthetic or not. i wonder if maqamat were such a strange concept for me when i
first started studying them that my brain was looking for something familiar to make sense of them, colours being the obvious connection. also - they
don't always or instantly appear. they sort of pop up when i'm in the zone (after hours of playing) or when i do the brain work around them. and they
become important when working on a taqasim. like i said before: say i start with nahawand, which is a nut brownish vaguely reddish worn-out staircase,
and then i think 'to make it work i need some green and silver with twists and turns', so i switch to saba. again, turning something familiar nothing
to do with music into something musical. music is an art form, and art should speak to more senses than one, so to me it makes sense. (might be time
to upload a taqasim soon to show that my way of thinking sort of works, lol). |
I know what you mean and I can feel music this way, but not with maqamat, instead, with jazz or classical music for example. I think I need harmony
... And yes, upload something with your way of thinking on the side! Examples are always better than long speeches 
| Quote: Originally posted by littleseb | also - like others have said: isn't a comparison between maqamat and mystical figures a similar approach? adding something to a sound to allow your
brain to draw yet another connection?
a bit like food as well - it's not just the taste (even though taste comes first), but it's also about the texture and the way it looks.
|
I'm not sure of what you mean, do you think it's a mystical way or others think about that?
For me, science has studied this phenomenon through various pathologies, in this case it is a malfunction in the brain, nothing to do with mysticism.
We do the same thing without this dysfunction, it may be this approach which seems mystical.
Now, my approach on maqamat is different, it is neither about personification nor about colors. I'm looking for the void. Here again it's about
science : a few years ago, I actively sought Edmund Jacobson in Chicago, but he died in 1983 ... His method of relaxation can create a mental vacuum
and this can be verified by measuring devices. When the vacuum is created music just happens. Your knowledge and your dexterity is necessary (no
miracle!), but you're just a listener of what you are playing. Silences naturally express the internal vacuum, without past or future (concepts), time
is just suspended in a perpetual present (reality).
I think many of us do this naturally without thinking. And many of us think it's mystical. I would say it depends on what you put in this void ...
I think it's not off-topic because it's about poetry : to me music is a continual vibration which happens in the air all around, we just connect
ourself on this flow for a brief time. As the matter for music is air, stone is the matter for a sculptor. This artist just reveals what is already
inside the piece of marble he works on. Nothing mystical, the sculptor needs all his skill and all is training to create one possibility among
infinite possibilities!
Sorry, sometimes I try French expressions translated in English, I realize if it works or not when I see people wince ... or not.
What I wanted to say : "And synaesthesia about the personification has not been thorough about maqamat!".
Now I think I become too talkative. The best is to express our thoughts (or our non-thought) through artistic works. I go back on my studies  (impossible to find a serious smiley with eyeglasses).
PS
Do you know "Nova" by Samuel R. Delany? I'm sure you should love the Mouse and his syrynx!
"The Mouse. This is the nickname for Pontichos Provechi, a young Gypsy from Earth, who, by age 18, has led an extremely varied life, and is just
beginning to work in a starship navigation crew. He also entertains people by creating illusions and music with his "sensory syrynx" (a sound, scent,
and hologram projector)." -> http://en.wikipedia.org/wiki/Nova_%28novel%29
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