![]() ![]() ![]() The Invisibles was exhibited alongside a number of other works from the 1950s in Tanguy’s retrospective exhibition at the Museum of Modern Art, New York in 1955, the year of the artist’s death. Though the gradation from the dark lower part to the lighter upper part is still clear, the effect is more vaporous than the more strongly horizontal striations of Tanguy’s earlier landscapes. Both are implied by the dappled nature of the paint application, in which patches of grey and white paint have been added over the horizontal bands. Instead of the rocky desert-like terrain evoked by the early works, the backdrop to The Invisibles resembles a sky, or perhaps an underwater place. The horizon line that is clearly evident in some of Tanguy’s earlier landscapes, such as Azure Day 1937 (Tate T07080), is not present in The Invisibles nor in any other work from this stage in his career. Tanguy’s artist friend Gordon Onslow Ford (1912–2003) described how he constructed his figures: ‘the most simple ones started with a wide contour stroke that ended where it began a contrasting colour was put in the middle, and the edges between the two were deftly blended.’ 2 Tanguy used small brushstrokes that were blended so as to be almost undetectable, a veristic style that can be related to the enigmatic landscapes of some of Tanguy’s contemporaries including Salvador Dalí (1904–1989), René Magritte (1898–1967) and Paul Delvaux (1897–1994). Tanguy first of all covered the entire linen canvas in broad brushstrokes of diluted oil paint before blending it to create a smoothly gradated background, allowing it to dry before adding the figures in thicker oil paint on top. This technique changed little throughout his career, though the appearance of his ‘Beings’ did alter over time. This is likely to be partly due to his painting process, in which he first created the background setting, before adding the figures on top of it. Tanguy’s paintings have often been interpreted as depictions of an unknown planet populated by strange living creatures or ‘Beings’. 1 Painted in 1951, the work is particularly characteristic of the large-scale scenes that he produced in the last few years of his career while living in America. The Invisibles is typical of the ambiguous landscapes that Yves Tanguy produced throughout his career, and which, according to his friend and surrealist colleague André Breton (1896–1966), function as concrete representations of the unknown. Further research shows there are further practical applications alongside professional providers of pain management, mental wellness, and therapeutic consultation.ĭue to constraints on sounds, this music has been adjusted to accommodate for the type of room the music is played in, the quality and frequency range of the speakers, and whether the music would be played in stereo.René Le Bihan, Renée Mabin and Martica Sawin, Yves Tanguy, Quimper 2001, reproduced p.195. ![]() Improving the environmental sounds along with sounds to maintain concentration can alleviate some of this problem. For example, a large percentage of office workplace mistakes and accidents happen due to distracting sounds, background chatter, and noise pollution. The problems we identified to initially address were to increase mental focus, increase motivation, improve feelings of calmness, and improve sleep. Further albums will be made with the same meticulous neuro and sound research with careful music production to stay true to the templates.įor the practical aspect of this research our goal is to create music as a tool to help, heal, and support. Morning is designed to increase serotonin uptake in the brain while Focus is woven tapestry of alertness and dopamine restriction. We applied the first collection of sentiment research to what we call “morning” and “focus” songs. as to what that music contains and let them play with the template to make music from it. Then we defined the time, rhythm, beat, frequencies, etc. Therefore we worked with professional musicians to make the sentiment pure sounds from the vast amounts of music research over the years. While there is much research in isolating and mapping these sounds from known songs, it’s far from a pure, single sentiment. This teaches the AI context so it knows that suspenseful music makes humans feel nervous and prepares us for a scare and happy music makes us feel elated and positive. This is done by isolating sentiments in the music. To create specific types of music with AI, one technique is to teach the AI how certain music feels to humans. ![]()
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