An Introduction To Adrian's Ineffable

Exercise your power of discoverer, embracing what emerges through a unique intellectual composition.

I did not want for the world to see in me, lost in another world, perhaps parallel, by using an esoteric language, the dissolution process of the active substance called: "Philosophia tribuit sese transformandi"– the composition of thinking started from the grave minutiae of life. Uniquely, I joined the representations of a modernism of conceptual art that surpassed the moment of maximum expansion.

Often, I enter that state of boundlessness of a writer who thinks big, compared to the readers who think in bits. From here, a philosophy of communicating through creation, a style that led from introspection to the analysis of a potential autonomous instance of control over the alternations between meanings and ins and outs. But, like a firefly that glitters for a moment and then vanishes, the whole view of my ideas regarding the art of writing fades after the first roar of the excess of fiction.

Think of the endlessness of a starry sky that faces living reality in a game without rules, like a sublime manifestation of an elegant formal concept. You will glimpse those latent impulses towards an excess of gloomy reverie, an exacerbation of the leap towards uncertainty, seeing the entry parameters in the formidable evolution of direction variations. Was anyone ready to see in me what could only be seen through the tiny window of subjectivity?

Can you give meaning to a form of authentic expression that conveys symbolic messages beyond the real content of words, opening up to causal points of experiential-empathic values?

To the hero of writer Thomas Mann, called Adrian Leverkuhn, everything had to come out from something with an imagined meaning, to be discovered from something that can be created or built on an artistic support. His letters had to be deciphered in order to be understood. The one reading them wanted to smash his head against the walls because he could understand nothing from them. It was a power of control transmitted through a form of expression that was previously loaded with hidden meanings by a wizard.

Adrian, without known how to read the notes, without digitation, mastered this extraordinary form of expression and didn’t use it to create confusion in his musical compositions, but rather to discover new harmonies, new exercise of modulation, new constructions of melodic figures with an undefined rhythmic.

I was a sort of mirror of Adrian, but one that turns into an imagination of a face carried in the balance of the core experiences of meaning. I have but one quality, I thought to myself while tracing, in my serenity, a fairly undefined line. I had learned to use what others would never be able to comprehend: the knowledge of crossing an added ordeal of intersections from which descends a single path. The science of being a question to which others cannot find an answer.

The causal signs of the experiential-empathetic values that bind me so much to Adrian, reigning over the stack of abundance of expressions and terminologies encountered only in specialty literature, were given by the demands of an immediate expressiveness that betrayed the agitated and nonconformist side of my being. They could be analyzed only from the perspective of a form of perfectionism that exhausted me completely.

My inner struggles, the exacerbation of the leap into uncertainty, were actually the fine vibrations of Adrian’s thoughts.

Do you take on the responsibility of authenticity by using compositions performed after the model of a form of expression projected on the basis of a rigid scientific support?

The one who is sufficiently plunged towards the authentic that he thinks broadly of what others are only prepared to understand in bits and pieces can very easily deviate from the agreed upon rules of leadership. Leadership is based on projecting a knowledge that guides towards and extension of thinking, to win the freedom of not being limited, passing the information from a single rigid frame of reference to one of navigating towards the different.

Only those who embrace what emerges through unique intellectual compositions, even with the risk of it being a question to which others can find no answer for, will be able to add new meanings to their conceptual universe.

The artist customizes his training and development by assuming the experience of engaging into a science of the particular, seeing the creation as a divided lot of imaginative elements. This customization presents a connection with exercising his power of discoverer through the fact that he feels attracted to an experience based primarily on a variety of themes and unfamiliar approaches.

Thus, you can give a new direction to your actions and especially to your own self – which struggles to carry out its projection in a universe of those known and unknown, of the possibilities of reinvention through the accumulation of imagined meanings attributed to assimilated notions.

A solid scientific support in literary art is a case of self-abandonment in a space full of emotional, intellectual and spiritual burden, tangent to the demands of an immediate expressiveness that does not allow you to create neutral characters, only ones with a special destiny.

The whole of the artist who is testing his scientific competence and literary skills resides in the power of the imaginary to reconstitute the feelings of a self-conscious mind from fragmented pieces of partial information. These come in interaction with the particular of an exaggerated, yet shiny subjectivism, through the impressive impulsive force of the desire to amaze in any form.

In this case leadership determines its identification address from two distinct perspectives: one of totality that succeeds chaos and the other of the interconnections between the aspects of novelty you paint relative to the trends of manifesting and correcting misunderstandings.

To create the premises of a development whose effect is that of rendering a form of expression through creation, with the risk of your authority in terms of art being challenged, means to represent "totality" on a value plan by extending those interconnections.

And if you want to assume your authenticity by using compositions made after the model of a form of expression projected on the basis of a rigid scientific support, all these premises will materialize harder or will be proven false.

Leadership is what you bring out through authentic expression, in accordance with the model experiences of a mind that, thinking of oneself, rethinks the entire world.

An Introduction To Adrian’s Ineffable highlights that category of individuals that experience an exacerbation of a plunge towards uncertainty, a problem specific to all artists who want to evolve through the expansion of knowledge – starting from a subjective context or from findings that are difficult to validate, but from which they manage to produce something of value.