We humans are always looking for a way to escape from reality, and the reasons seem endless.
Of course, for fear of death. Sure, because they want to die but they don't think their time has come yet. Sure, because they don't want to make their loved ones suffer with death even if we want to die.
And obviously they don't focus only on death, there are thousands of reasons: stress, tiredness, fears, situations, by their very nature...
And it is curious how many different ways there are.
I've been reading a lot, really a lot lately. And every time I read, it's as if I create a new universe around me where I am the spectator, and the adventures are dictated by the book.
I like to depersonalize and observe, observe what is happening from a distance, analyse, make my assumptions, and keep looking at every little detail.
My personality is still a bit split, and right now I'm totally uninterested in being part of people's attention.
And I've noticed that, often in recent years I've tried to distort reality into something less painful, let's say I've lived in another universe. It's curious how my mind kept looking for ways to protect my sensitivity, trying to give me everything gradually; initially suppressing almost everything, then slowly letting me experience the pain.
Honestly, I'm curious what ailments I might have, but it's better that I don't know since, it could be that my mind could try to conform to the ailment.
Another nice way I've been creating universes is through people. It's something that, for now, I've decided I'm not going to ask people to do anymore. Creating worlds with other people, describing them, interacting with them, that was definitely one of the best ways I created happy universes.
Another way I used to create universes is through creation, programming. I have always treated my programs with care, attention, in every little single detail. And I identify with them, I make them grow by paying attention to detail. We can say that, every programming project that I do, I treat it with care and give it its own soul.
There are also abstract or other concrete ways with which I create universes, but I'm tired of writing now: the part of me that favors writing is correlated with pain, on the other hand I was born this way, and when I'm fine I tend to write less .
Well, you know how good / bad I am really looking at my blog, and how much I publish.
If I post frequently, I'm sick.
If I post 1 time every day / 2, or more, it could be that, either I'm so bad, or I don't have time, or I'm fine.
If you don't see me for 1 week, there's confirmation that I've been fine all week.
He who creates does not produce. Who creates is not seen. Everything that is not produced by companies goes unnoticed. What is created and is not a product of capitalism is as if they do not exist. And so in the same way creators are non-existent for society. They're on the sidelines. In their creative corners where they despair and cry. Their creations are not products and they are not existent. Capitalism has made them useless. In the past, creators such as Leonardo, Michelangelo and others were welcomed at court, well-liked and in demand. But today's creatives and artists stay out of every door, unless they produce something "salable". This dead company is based only on earnings and money is killing the imagination.
Is it more important to know how to repair a car or paint a picture? Is it more important to know how to repair a boiler or create a sculpture? Is it more important to repair a fridge than to sew a bag? If you don't know how to fix certain objects then you can't drive, you can't store food, you can't heat the water. Let's imagine for a moment that there is a black out and you can no longer turn on the TV, the fridge will not be able to turn on, the car batteries will not be able to charge. Therefore it will be necessary to do without everything that requires electricity and repairs. So what will humans do? Will they return to observe the paintings they have in the house and dream? No, because they didn't want to spend money to buy the paintings but only spent money on useful things. And art is not considered useful. But in the future all the appliances will be turned off and whoever has books and paintings will be able to dream. Everyone else will perhaps die of boredom.
There are artists who paint what they see, others who paint what they remember or what they imagine. Our brain changes in the face of reality but, at the same time, it is capable of changing it: a "different" brain must therefore have a different relationship with reality.
In art this "process" can lead to the creation of new realities, which will only partly depend on "sensorial information"; our brain, in fact, does not necessarily need the continuous "information flow" coming from our senses. Dreams, memories that "revive" in mental images and also representations "simply" created by our mind testify to this event.
In this sense, art amplifies reality, creates a new "mental channel" capable of opening up to new experiences. The visual stimuli, real or evoked by memory, which excite the nervous system of the artist at the moment of the creation of the work of art, transformed by his hand into colors and shapes, will stimulate the nervous system of the observer. The work of art must be able to arouse in the observer's brain sensations and emotions that were present in the artist's brain. Approaching a work of art, looking at it, perceiving it, understanding it and appreciating it, implies the involvement of many brain structures and the activation of very specific mechanisms, starting from the functioning at the basis of visual perception, to those involved in the so-called "psychology of see ", in the aesthetic and emotional experience. This refers not only to the emotion felt by those who enjoy a painting but also to the creative moment that involves the artist to create his work.
Some researchers, especially psychologists and neurophysiologists, have been fascinated by the possibility of studying the properties and characteristics of the brain that are part of the evaluation of a work of art and the pleasure it can give; persuaded by the idea that the understanding of these cerebral mechanisms, together with the knowledge of the events of the life of an artist and of the culture of his time, can favor a greater "knowledge" and appreciation of the work and of those who created it.
A work of art is born from the combination of what the artist experiences "visually" and how he interprets what is communicated to him from the outside world. Both the acquisition of visual information and its internal processing can be altered by pathological causes.
The effects of serious mental illnesses, often altering the artist's perceptive and emotional abilities, can affect his pictorial expression and testify how the painter's life story becomes an integral part of his work.
All this emerges in the paintings of some great painters in particular moments of their life.
The needs of an artist are different from all those of others. Of course an artist eats, sleeps, goes to the bathroom. He may have things and people he cares a lot about. May have interests and hobbies. But one thing distinguishes him profoundly from all other people: the need for stimulation. An artist feeds his art from himself and from what he sees, knows and experiences. Visual, mental and empirical stimuli are profoundly necessary for every artist because in the absence of these his creative lymph dries up. In fact, if an artist is not put in the conditions of being able to have these stimuli that satisfy his needs, he will slowly fade away. His imagination, not being nourished, will become dry and will find it difficult to give him the input for artistic creation. Just as an animal dies in its instincts if placed inside a cage, an artist dies in his creative life if he is put in conditions that are not favorable to the expression of his artistic talent. Fantasy is like a plant and must be fed with the water of stimuli. If these are lacking, the substance for dreams is missing. It lacks the energy itself to create other dreams and other works. So for this reason it is sometimes said that an artist cannot live life like the others and the same things that others are enough cannot be enough.
THE PRODIGY OF IDEAS 