Cognitive, n. the mental action or process of acquiring knowledge and understanding through thought, experience, and the senses (Google, n.d.).
Mental images mixed together with perceived sounds of emotion utilizes different portions of the brain for producing a particular feeling. The imagined image placed together with a musical arrangement presenting a feeling, or what the brain thinks the feeling sounds like, produces an enhancement of that image and musical arrangement reflecting each other. To be more specific, a structure in the left hemisphere of the brain, the cerebrum will function for various tasks; the most task in focus for this post is conscious thought or the induction of it. Interestingly, with careful music placement, the focus of music is directed towards conscious thought, as the activations may be arranged for knowledge reception attended for enjoyment directed at specific locations in humans’ psychologies; it is possible to manipulate sounds for mental imageries that are activated–and ‘adhere-too’–by the simple physiological rules of the human senses. With this in mind, we can create episodic images, with sonic adaptations placing enjoyable experiences into sound design parameters for quality enhancement in music production; I only assume that the adaptation and acknowledgment of additional dimensions in creativity may intensify the musical experience–and perhaps–maybe even an origination of creativity within imagination itself for others.
In the short project presented above, the topic of Davy Jones Locker is displayed in audio format with Davy Jones’ heartbeat–as his heart is locked in the locker–the audio was acquired from samples in the Pirates of the Caribbean movie, itself. The helpful use of video accentuates the sounds that facilitates focus on a heartbeat; the tempo, slow with siberian riffs, creates inter-hemispheric imagery of neurotic invitations to leave wonderment upon a beating heart–“its” reasoning for such demonic wrathful roads of such supernatural practices to sustain maintenance for that purpose of each heartbeat. This suggests production enhancement techniques for the use in music production, the topic–whether visually inspired or not–the music may accentuate parameters to display emotional inferences; however, the details in lyrics, tones, and tempo–ultimately–direct the plot, and props, that adds meaning to the storyline–to the imagery topic of focus. Additionally, the emotional experience for each individual may be different in specific instances of experienced emotions; it is important to consider the personal definitions of enjoyable emotions–or non-enjoyable ones–are defined with tastes of negative or positive valences echoing through neuro-psychophysiological networks and chambers, as each memory is coded into human information processing systems of memory. This places the importance of inferences to be lead down towards the attended emotional imagery for each music production, but that attention directed towards these acknowledgments–as producers–can be “somehow” given some type of message, or deliver carefully psychological triangulated activations, to be holistically placed towards those that will understand the meaning, that only, they have had the same experiences.