Studying the music, the mind, the meaning — cinematic brand strategy and design.

The mind of the soloist, the split mind in the brilliance of the schizophrenic — how is the passion of melody, of harmony, newly sensed and seen?

Last night, I was talking with Gerard Schwarz, who’s the conductor of the Seattle Symphony, and a long standing musical advisor to many. We actually were talking about brand, strategy and transitions for SBRI. There was an event supporting the Seattle Biomedical Research Institute. We branded that, and are working on the consideration of how to newly advance their spectacularly evolving legacy. More on that, later.

I’m contemplating that idea, that ideal, of reflecting the story, in brand, in experience — and identity. And that might be in creating the identity for a humanitarian organization, or that might be in doing something for another layering of brand storytelling — cinematic branding design.

Illustrating sound. But what I contemplate is sound, memory, reflection in the movement of sound. What does music do, in the character of mind and memory — and the comprehension of place — and who, and where you are, in it?

I think about silence — the architecture of places where sound is absent (like where I’m sitting this morning, shortly after 4.00am, there’s very little sound; no cars, the birds are quiet; and it’s a different, contemplative sense of sphere, the space, the place that I’m in — my personal place. The sphere of me.

The Soloist, I’ve written about our work there. And this is about the schizophrenic, the split mind of fullness — two sides, arguing with each other, about the importance of each; the mad — and the salt that is there — to spice the temper of experience. But something struck me, about the connection to Gerard, and his passionate observations. It was about clarity and precision — of perception — in exploring the structuring and character of statement (and even to SBRI) — and I’d apply this to the intertwining of musical experience that there is a precision, a passion, but as well, there is the fire-lane of creative sparking that keeps ringing this forward — igniting the path and meander of the music, from one tendril to some newly alighted fire; it’s passion. There is precision in the framing of “message”, the melody, the working synchrony of harmony; and there is the creative passion, in the interpretation of that telling.

It’s always about passion, I’m thinking — which is pain, which is love, which is power, which is beauty.

Passion — the pain of experience — is what it’s really about, striding past that, to something newly discovered. And herein lies the theme of The Soloist, which we’d worked on, as cinematic brand designers, it’s about the passion of being in; into it, entwined in the place of meaning.

For you. And what you bring to the world.

c.1175, “sufferings” — from O.Fr. passion, from L.L. passionem (nom. passio) “suffering, enduring,” from stem of L. pati “to suffer, endure,” from PIE base *pei– “to hurt” (cf. Skt. pijati “reviles, scorns,” Gk. pema “suffering, misery, woe,” O.E. feond “enemy, devil,” Goth. faian “to blame”). Sense extended to sufferings of martyrs, and suffering generally, by 1225; meaning “strong emotion, desire” is attested from c.1374, from L.L. use of passio to render Gk. pathos. Replaced O.E. þolung (used in glosses to render L. passio), lit. “suffering,” from þolian (v.) “to endure.” Sense of “sexual love” first attested 1588; that of “strong liking, enthusiasm, predilection” is from 1638. The passion-flower so called from 1633.

I look in there, and envision it.

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