THE MAP AND ITS FUNCTIONALITY
-----A simplified version of the map and its functionality is as follows-----
-----Jake Adams gives the viewer a broad look, starting with his earlier realistic work. Slowly, the painter transitions from a macroscopic view Shooting downward into a microscopic ether that envelops all of humanity through the analysis of the individual. He has been molding this latter concept as a more permanent motif for the last four years. In order to gain such a microscopic view into the human mind, Jake Adams uses the idea of "the interview" to engage in mundane every day discourse with an individual. Through this performance he is able to sift through all of the feelings that were present in the individuals reflection of a particular day or week.
----- By using his "Map of emotional recovery through FTC" fig. 1, He can correspond these feelings from the individual to their proper location on the map. This template or map is a large grid categorized in three separate parts that act as one. Each section has its own set of unique feelings that relate to its specific category. i.e. He designates Forms to the category of SPACES. He places Textures in the MOODS section, and Colors mingle within the EMOTIONS category. By utilizing this template, Jake Adams is able to visually represent a portrait of human consciousness in accordance with said feelings and specific times. Although the early work is very disparate from his present themes, they have been used as a crucial foundation to give rise to the potent painted forms he constructs today through the use of countless mediums. (end simplified description)...
FROM THE NOTES OF JAKE ADAMS- EXPLAINING THE MAP
-----The human race constantly endeavors to achieve something greater than themselves. We utilize our will to achieve goals directly and practice to keep it strong. Unfortunately a presence within us motions against our will indirectly. Nonetheless we attempt to ascend from negative to positive incessantly.
-----These ideals are paramount to my painted forms. I first navigate them by means of an interview. Through my research the performance of the interview has been the most affective form of discourse given the objective pursued. This is due to its constant placement of the subject within their own mind. Placing them deeper into themselves allows for an increased incorporation of feelings. This in turn shows whether or not their feelings are affirmed or dis-affirmed, determining ascension(positivity) or dissension(negativity) within them.
Ascension and Dissension
-----Ascension and dissension is the result of affirmed or disaffirmed feelings felt or described by the subject during the interview, and within thought process in general. These feelings invite themselves into any conversation. What determines such is dependent on where the subject unintentionally guides their feelings during interview, by description of an event, or action, etc... Affirmed feelings are positive, therefore Ascending to SPACES (forms). Dis-affirmed feelings are negative for a subject and simply means that the subject hasn't found a way to deal with a certain emotion bestowed upon them by a particular event. Affirmed is obviously the opposite. The disaffirmed feelings descend the individual into the MOODS (textures) spectrum. Describing this further is as follows:
-----Each feeling has a place on the map based off my own experiences, imparting an indirect discussion between me and the subject. Partitioned to three categories of feelings the map conjoins each feeling with FORM(spaces), TEXTURE(moods), or COLOR(emotions). The subject Ascends or descends from the emotions category, making spaces positive, and moods negative. Each feeling is conjugated by my own empirical phenomenology. Therefore the feelings find their own connection to a category, Allowing constant change. In the end the painted form becomes a specific moment in time to a very specific viewer. The object then assimilates into a tangible version of digital vanity. A bubbling stew of the mundane trying to ascend, while coagulating into countless media, to finally subside as a portrait of consciousness.
-----Extra notes on how things came to be:
----- I use the word consciousness versus unconsciousness, because although the unconscious mind makes more sense in specific aspects of my work, it is in-accurate due to its specificity. It is a category in itself, where as consciousness encompasses all. Furthermore, in phenomenology Edmund Husserl noticed that intentionality, or in our case volition, was the distinct mark of consciousness, hence the utilization. Husserl's concept was capable of over coming the traditional mind=body dualism. The study of consciousness therefore joins with two sides...
First-- conscious experience is regarded as an element within the stream of consciousness.
Second--- Experience is also representative of one aspect or profile of an object. (hence the premise of the map, and how my re-affirmation of material representation for feelings occurs on its own time through my own experience).
---So although these connections occur unconsciously, our intention, or our will, is constantly fighting to affirm or disaffirm them in order to move forward with our thoughts, and therefore our lives. As Nietzsche states in his essay On Truth and Lies in a Non-Moral Sense, "As a means for the preserving of the individual, the intellect unfolds its principle powers in dissimilation...(pg.1)"
-----A lot of my research corresponds to phenomenological studies such as Edmund Husserl's, and G.W.F Hegel's. I give thanks to them for their great achievements, and the fascinating knowledge still applicable today in cognitive psychology and other great subjects. I am also thanking Abraham Hicks, whom invented the idea of ascension and dissension of feelings (Abraham Hicks is a conglomerate of people). Great thanks to Daniel Dennett as well, for opening my eyes to the functions of consciousness. My favorite of all, is giving thanks to Friedrich Nietzsche. My interpretation of his work as one large self-affirmation quest has opened up many doors in creating this system, even if he distrusts all "systematizers". Last but not least, thanks should be given to all the people and or things within my life which have assisted me through my trials and tribulations for this project, but most importantly for life itself.
"For the soul which possesses the longest ladder and can descend the deepest: how should the most parasites not sit upon it?" -- Thus spoke Zarathustra--(p.225).
-Friedrich Nietzsche -