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"The World Of Selfish Limbs" Live Performance Part 2



Video design by: Muppie

Article by: Sutter Graves


Beauty is a conceptual language – boundless under an infinite bond of perception and awareness, while its sense relates to everything. Beauty doesn’t fish in the clouds for excellent, pastoral illustrations that wisp away cogitative observations into a blue dream; nor practices that exhume a deeper you, but that its simplicity remains beholden to action, not merely speculation. The dance with the inner and outer spheres of the self, the avalanche of imagination and emotion stir creative arrangements, balancing the subject’s objective goal. It represents mental compartments eminent in the traits that bard human transformation.

We are cause and effect from numerous forms, located within the same harmony, in chaos, and restless epochs, the seeds of division sprout lips, from colonies blooming to kiss the universal sky - in the company of imagination which music perseveres.

There are few types of ‘anti-music’ as formless as the waters themselves, but consequently, exempt controlled setting; its style is a plurality of procedures to elicit the unconscious body. Inducing the flexible triad of influence, interpretation, and interaction - integration concatenates with the infinite, mortal ocean. This form is exemplary that music doesn’t heed to an algorithmic organization but is finite in variation, and as many qualitative patterns Selfish Limbs masterfully crafts. This is congruent with the expressive modes within our souls, relating a caricature of peace, calming, or any other tranquil states, that once reflected in the listener’s imagination, blooms a unified whole. However, only on a strand of relativity shadowed into the genre’s home or the sounds influx from various energy streams. The listener can then feel stripped of persona, with belongings shifted to motion complimenting earth’s spheres and limbs: a body encased being creativity.

Musical styles are projected and atomized into a condensed emotional matter state, a cosmos influx in its sphere. Experience is the tones, enriched with each need to illustrate resonance into a construction exemplary of progressive minds. Let it be the pulse of that rhythm and follow our conscious light. Music is a constant stage of ‘new development,’ fixed on progressive forms maintained within the same genre but locating synonymous additions, as soil growing from inception. This can state the architecture of sounds with their genus organisms. For experimentation to have a function, being solely to expand one’s mind, an opposite-end must be in effect and treated carefully. Critique, in this junction, mustn’t locate the material of sound, rather its sensuous nature.

Drum's gorge upon string theory, where vibrations ricochet vital properties heeding emotional overtones and expressive outputs, animating tonal passages indicating the musical character. Character isn’t embellished, nor a material concentrated by an instrument but grown from its introductory tapestry.

Composition is a space from spaces. Selfish Limbs composes angles infinite in dialect and geometry. Interactions confer within each heart, hands that plant verdure, where the senses ablaze into a new fiery image in connection. Then, arrangements are the economy of these offices of thought. Its system orchestrates the horizon of this logo, rising from mechanical spurs of equipment and hardware, enriched with the artist's voice.

The composer must aim for the scrupulous delights woven in the faculties of complexity and higher voices springing lustrous pieces for exercise of the mind and body. Of course, beauty isn’t singular under this regiment, but our senses are a forest, blooming flights, in variation and pattern.

An arbitrary line of program and satisfaction disobey, which these parameters, are partly due to experience. Music isn’t an already humbled medium of our orbital, expressive fields. Any low power of humility will drive progression away, subtly.

Transcendentalist philosopher, Bronson Alcott, wrote: “[..] all occupations of man’s body and soul in their diversity come but from one mind and soul!” Two divisions in perception hermetically within music cultures and environment influence the seas forming fractals cascading off the tail of its current. The artist is another single variable that melds these two forms, beaming the cogitative ‘listener,’ or ‘audience.’

From Latin ‘addentia,’ and from Old French ‘audience,’ being, “the act or state of hearing, action or condition of listening;” from PIE compound au-dh, “to perceive, physically grasp,” from root Au- “to perceive.”

The audience is an interplay of art and formation, taken from each other, forming its whole; and the force which binds; the reason yearning formation. We’re an audience to the thoughts and sensations interpreted from the symphony of universal law; as well as artists to the compositions of the internal spark, when aware of the fact arrange ideas and sounds as symbols, influencing then the composition of our character, transporting the vessel of transmuting, infinite orchestration. We rejoice into the triad composition, a first kind of ‘there and back again.’ This verse repeats until our music within us sends its grand finale into passing days.

Audience is the membrane of this immaterial sphere, where we’re the singing toads and birds which are weightless fish and amorphous creations forged in the experimental valley - in the tides of season and the symphony, Spirit.


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