Is It Ok To Switch Formula Brands Back And Forth Emotional Time and Space Grid

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Emotional Time and Space Grid

The nature of all emotions is a smooth progression of one emotion leading to another through an increase or decrease in strength or intensity. More or less, one emotion takes you to the next nearby emotion above or below it.

In general, daily experience carries us through the ebb and flow of emotions to a limited extent. But in these rare circumstances, a person’s emotions are shaken by an intense personal experience that alters the smooth ebb and flow and transforms it into a jagged, confused mental environment.

This is what makes art, in all its forms, central to all cultures, because it expands the ordinary range of our emotional experiences through our perception. When art has just the right formula, it disrupts the landscape of consciousness and activates the mind’s scanners.

When these scanners detect and focus on the source of the disturbance, attention begins to focus and accumulate in that area and reverberate. Attention flows into this starting point and rises into a stretched wave that stops over time as the mind continues to receive the constant stream of information. The wave rises and falls as the intensity or volume of the signal increases and decreases.

Art expressed in a narrow range of dynamic components is expressed in emotions expressed in a narrow range of feelings. To expand the feeling, the range of dynamic elements must be expanded to approach the analogous quality of human emotions. Once the power of the artwork has captured the mind’s attention, it is channeled into the emotional web of time and space.

The time and space of an emotion is a precise convergence of factors that align to produce perceptions of a similar tone to the observed emotion. Art takes the creative work to the point where a confluence of factors affects the mind with sufficient force to evoke or evoke a particular emotion or emotional experience.

Try to imagine that the mind is a grid spread out as a single plane. This is the plane that lies between the senses and the outside world and our memories and subconscious. What happens is that as the senses move in perception, they are sent through this network and sorted by some kind of signal detection relay switch, in which the sets of perceptions are placed in the appropriate emotional slots to access certain recent memories or memories from the long-forgotten past.

All memories can be accessed using a unique emote blueprint. Such a plan could be described with percentages such as 20% “anger”, 50% “disgust” and 15% “fear”. Even groups of memories tend to cluster around emotional plans with specific characteristics so compactly that they sometimes produce a mass that the person registers as a kind of heaviness. The more mass is built around such a cluster, the more we feel the emotional floodgates weaken and break down to be overwhelmed by a tsunami of emotions.

The emotional web of time and space is like a coordinate system drawn on a globe or map, where art affects the senses and targets emotions in a certain way to create a unique response for each person. The action that produces this experience occurs automatically, but is programmed by the person or by someone else with their consent. Each emotion has an exact “location” in our mental world.

An artist’s strength lies in his ability to master the techniques of his field and use them to create emotional experiences in the minds of his audience. The power of art lies in its ability to target one of these thoughts to “turn on” the emotions in that area and bring back memories associated with that particular emotional blueprint. Emotions first affect the physiological response, then the memories are massed. Ineffective artwork usually elicits a very mild but unregistered response. Successful works of art either add mass or maintain existing mass. This is what elevates artistic perception to an emotional experience for the individual.

Science has not yet been able to assign exact coordinates to any emotion in the universe of our mind. So at present the only techniques available for eliciting emotion are those studies that involve the field of aesthetics. All creative fields, from architecture to cosmetology, inherently have the ability to influence a person’s emotional time and space.

Smooth lines, slopes and treacherous mountain ranges form the mind’s landscape when emotions are activated, so navigating the environment requires a map with precise details. Art is a stimulus, our memories are a map, and the dynamic components of each art form are tools for navigating the emotional landscape in our minds.

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