#authenticism

[edu-macation]

My Evolution #MyMagnumOpus

[edu-macation]

Taking Five - Unique Individual Expression (A Reflection)

Whilst walking this morning with my young niece along Frankston Pier, she spoke of the bay that surrounded us. Out of the mouth of babes came this thought provoking expression of her watery surroundings.

 “Like a spider web it is really beautiful to look at but it can be dangerous”

Her thought provoking and distinctive personal expression became the catalyst from which I now write about, unique individual expression.

Expression is a talent so uniquely ascribed to every individual. Nurturing this gift of individuality is paramount to the acquisition of personal truth. Unique individual personal expression reveals itself in so many varied forms; written word, actions and artistic endeavors are but a few. 

Allow expression to influence or disseminate responses, but avoid making comparisons of your expression to the expression of others. Indeed they may evoke fellowship, emotional response or a contrary aesthetic; but it is mindful to remember and respect that your script belongs to you and your world as does the expression of your counterpart. 

Perceptions and perspectives are a matter of personal circumstance; they are birthed from experience or a desire for experience.

The next time so see, hear, read, taste or feel someones individual expression; maybe performing a good deed, displaying movement though song, expressing emotion or singing out loud, take but a brief moment to pause and reflect on their unique expression. Ask yourself what you think may had evoked their expression, allow their expression to evoke a response in you.

Expression is a universal tool of the human condition. By embracing, understanding and validating the expression of others we become more aware of our own unique personal expression. 

Expressions of others inclusive of one’s own unique individual expression are like markers on a map; like lights that point a traveler and their vessel in the direction needed to arrive at their truth. I suppose the question is will you chose to follow them?

[edu-macation]

Taking Five - My Authentic Self

The beauty of being truly authentic is that this conceptual ideal leaves no room for vague notions or cruel intentions. So swift is its candor within sense of self that though you may slightly veer of course; you are found back on track and stronger for the misdirection. Causality dictates because your beliefs are so strident, so honourable, your true authentic self has no other option than to remain true to sustain your design.      

[edu-macation]

Words are the sword and truth be the shield; power is given to the hands that they wield

Russell Hawkins

[edu-macation]

The many shades of my colour-filled life. “Dualities” How can a shade be a colour? By definition a shade is not a colour. Listen here, I was told I wasn’t going to live past my twenties because of lifestyle choices. I’m still here, living life to the fullest. Every new day brings new challenges. Challenges for which I am thankful for; their lessons though not always apparent at the time become recognized through reflection. They are glorious a-ha moments; validating them ensures that my ship, my vessel, I, am on course toward authenticism of self. So shade or colour is not important, perception is key.   Lesson: Never let anything define you but you. 

[stayoutofmynamastespace]

White Woman at Her ‘Most Authentic’ When Appropriating Other Cultures

[pxssagat]

Sarah Anne Johnson / Hiking at night

[awsamweston]

Yes, Film Music is Still Classical

As a film nerd, I’ve always had a place in my heart for great movie scores. I always get a thrill when hearing the Star Wars music by John Williams, or the scores for The Lord of the Rings and The Hobbit by Howard Shore. Even the self-taught Hans Zimmer has made some amazing music with The Lion King and the Pirates of the Caribbean series.

As a recently-inducted classical music nerd, I’m baffled by how some people dismiss film scores as “not real classical music.” At the core it’s probably just because I never made the distinction. To me, it’s all just “soundtrack and classical.”

But apparently some people do make the distinction. Apparently movie scores aren’t “artful enough” to be considered.

I want to put that notion to rest. Because, like it or not, film music is just as important as older Classical works. On top of that, there’s plenty of historical precedent to support that claim.

So let’s begin.

Film scores are, at their core, an extension of the Romantic era. Like Romantic music, the best film scores evoke some kind of emotion: Whether it’s a sense of wonder in The Hobbit with “Feast of Starlight”, the joy of “Jake’s First Flight” in James Cameron’s Avatar, the fear and panic of a stampede from Hans Zimmer, or the longing found in “Across the Stars”, or the simple happiness found in “Married Life” -- It’s undeniable that film music comes from the same vein as the ferocity at the start of Beethoven’s Fifth, the bigness of Dvorak’s New World Symphony, and so on.

Another thing to keep in mind is that some of the earliest film scores were actually composed by Romantic-era composers like Camille Saint-Saens (The Assassination of the Duke of Guise, 1908). So you can’t discredit all film scores without discrediting the accepted classical composers.

And don’t forget that some of the best film scores draw from the Wagnerian leitmotif. Tying a character, object, or idea to a short tune has become a staple in film scores. Again, I refer you to Star Wars: this time with the Force theme.

“But it’s just not the same!” the unbelievers say. “Film music isn’t created with the same rigor as before!”

But remember that, for a long time, people absolutely hated Beethoven. Music teachers would refuse to teach his compositions because his style was so contrary to the deeply-ingrained Classical era. So I’d argue that it’s not a matter of “less artistry” -- it’s just a different kind.

Also understand that, even today, there are composers who are classically-trained specifically so they can compose for film. For example, allow me to introduce you to the up-and-coming Braxton Burks.

And another point I have is that, since film music is still being composed today, we get exposed to the mediocre scores. We hear the less memorable stuff because that’s what’s coming out right now. I’ll admit that there are some underwhelming scores in recent years. Sturgeon’s Law says that “90% of everything is crap.”

But the great thing about bland art is that, over time, it gets filtered out. Nobody remembers the mediocre releases from a few years ago, and even less remember the middling hits of the 1800s. That’s why most of the Truly Great Art we know of is older than your grandmother (or, in Troper speak, “True Art is Ancient”).

So I guess the point is, don’t get discouraged by the apparent lack of quality of today’s music. Or, for that matter, today’s art in general. You’re just seeing the whole picture, warts and all. By the time nostalgia sets in, people are only going to see the great stuff. It doesn’t matter whether that’s in 20 years, or 50, or 100 or more years: eventually, our descendants will look back at us and say “Yep. The 21st Century had some great art.”

We just don’t see it yet because we live in it.