Preface
As
Dr. Ron Art took sufficient shape for me to launch it via a
Facebook page three years ago, I wanted to share my
Art Manifesto. This manifesto isn't just a set of beliefs about art, but also a proposal about the very nature of art.
Physicists work at discovering the immutable laws of the universe, and in a similar way I work at crystallizing some fundamental truths about art. More broadly, art is an integral component of
The Tripartite Model, along with science and religion.
My Art Manifesto
- Art is cross-art by nature
- Art is always autobiographical
- Art is sensuous
- Art is synesthetic
- Art is never completely original
- Art has value
Dr. Ron Art is a sizable complex with five main wings, under which several projects are at various stages of progress:
My Art Manifesto is the undercurrent for these projects. This is the fourth of six articles, where I introduce this manifesto.
I have this pet idea that (a) we work at art is sensuous, that is, heightening our five senses for any stimuli around us. Then (b) we cross the usual pairing of sense and stimulus, and now it's art is synesthetic. Synesthesia is a neurological condition, where sense-stimulus pairings are scrambled, for example, hearing colors or seeing music.
Some synesthetes often report that they were unaware their experiences were unusual until they realized other people did not have them, while others report feeling as if they had been keeping a secret their entire lives. The automatic and ineffable nature of a synesthetic experience means that the pairing may not seem out of the ordinary. This involuntary and consistent nature helps define synesthesia as a real experience. Most synesthetes report that their experiences are pleasant or neutral, although, in rare cases, synesthetes report that their experiences can lead to a degree of sensory overload.
Though often stereotyped in the popular media as a medical condition or neurological aberration, many synesthetes themselves do not perceive their synesthetic experiences as a handicap. To the contrary, some report it as a gift—an additional "hidden" sense—something they would not want to miss. Most synesthetes become aware of their distinctive mode of perception in their childhood. Some have learned how to apply their ability in daily life and work. Synesthetes have used their abilities in memorization of names and telephone numbers, mental arithmetic, and more complex creative activities like producing visual art, music, and theater.
Reference:
Synesthesia.
That's stupid. Numbers don't have colors, they have personalities!
Of course, synesthesia isn't the purview of art alone. I love what Alex relates at the end: Fellow synesthetes have very different orientations to numbers, so their gatherings have the makings of a friendly fight.
I don't view synesthesia as a medical problem, though it can be, if a person is disturbed by it and it affects his or her day-to-day functioning. By and large, though, synesthetes who may or may not be artists clearly find it pleasant and normal. I imagine that in general established artists or would-be artists have a greater degree of synesthesia than non-artists.
Imagine the creative possibilities
Five years ago I was at Happy Hour with a couple of friends in Dubai, and I must've mentioned synesthesia. They didn't know what it was, so I explained it and mentioned it as a hallmark of art. I met them in an acting class, so like me they were artistic sorts and they were duly intrigued by its being an art manifesto.
I promised to write a poem about it:
They
say, true synesthesia is involuntary –
Like
twitch of muscle fibers, firing of nerve cells,
Molecular
activity of momentary
But
frequent ringing of cross-stimulating bells.
But
I do not conceive this as neurologists
For
science claims too much of human mantelpiece,
Or
relegate to armchairs of psychologists
(Though
I am one) this cross-emotional release.
So,
dear, who truly owns this synesthesic power?
The artist! Let’s begin with sight. For eyes have might
To
hear the music in Picasso, feel the hour
Shorten
upon the skin from images at night.
Consider
hearing. Enter Mozart opera –
“The
Magic Flute” singspiel that is a
rousing texture
On
fingertips, a harlequin to camera
Of
colors from dramatic notes-and-words admixture.
Now,
smell. The fragrant hyacinths across the
field
May
give rise to a spread of roasted lamb, merlot
And
crème brûlée – for flavor is as
much the yield
Of fragrance as of succulence,
tied with a bow.
Taste, then. Cold water on the palate in the heat
Of equatorial summers is to
bathe in springs
Collecting from the
mountaintops, down to their feet,
Where rushing, falling is what
water also sings.
Last but not least, is
touch. For lovers, all the world
Is synesthesia. Were they simply left alone
To stroke each other’s face,
we’d see the cherubs twirl,
Hear oud play, breathe perfume,
lap Häagen-Dazs’s cone.
So, there, the sensual artist
is the king and queen,
Whose living fully rules each momentary scene.
Synesthesia © Ron Villejo
So how about synesthesia in short film, music video, and training and education?
I
love the bits about listening to fruits and vegetables, meat and eggs, then himself. Toasting, cooking and eating books. Herds of cats coming out of the speakers.
The lyrics and singing are terrible, but the visuals and music are catchy. The Hindu holiday of
Holi - the festival of colors - is a nice touch.
I like the notion of
metaphor as seeing the similar in dissimilar things. But imagine the work of researchers in synesthesia, applied as training and education for all art students. There is evidence that our brain is very plastic, that is, pliable and changeable. So we could adopt neurological applications for
children, teenagers and adults, and thereby build up their artistry, creativity and innovation, and reshape their (our) brain for a meaningful good.
