The concept of human consciousness is one of infinite possibility and miraculous autonomy. Life in of itself is a wondrous thing to be marveled at and preserved as a rarity in the known universe, but sentient life, that attempts to understand the world around it, to communicate and manipulate it, is something entirely else.
As an artist, however, you do run into this wall where the line between the material and immaterial is blurred and confused, and communicating the experience of such things is woefully imprecise. Our senses- touch and taste and sight and smell and hearing- are in no way all encompassing. We see a tiny fraction of the electromagnetic spectrum, we hear a tiny band of the frequencies of noise, we react to ingested chemical compounds with a small array of taste sensations, we react to airborne chemicals with a small array of scent sensations... There is so much we are missing, and what we do get isn't necessarily real. There is no intrinsic property of matter that is "Red", or intrinsic property of "sweetness". Everything we perceive about our tiny observable portion of the universe is filtered through the reactions of our own minds, because our body translates all these signals into what we feel. And in that sense, my experience of "red" might be entirely different to yours, but we both call it red because we both learned to name the same trigger "red".
Even more complex yet is trying to convey the sensation of emotions, because they are entirely personal. They are an internalized reaction to chemicals that derive purely from your mind's interpretation of the situations presented it. Your thoughts and feelings, and indeed your entire personality is the complex product of genetics and memories whose experiences have passed onto you the collection of ideas that you combine to perform in this moment. We often act out whole endeavors in our minds before attempting to do them for real; pep talks in mirrors and rehearsing a conversation. And as much as simulation is helpful and builds confidence, it helps to realize that you're not the writer of this play we call "reality", and you cannot script time. You are merely a method actor doing improvisation with a bunch of other entities all lost in the same ship, all fantasizing the same level of "control". Ego clouds logic...
And herein lies the core issue every artist must face: how does one convey emotions? You can play with colors and perspective, proportions and shapes. You can toy with sounds and smells, textures and motion... but when you break that down into ideas, or even still into words... how flat do your attempts really fall? The shortcomings of words are in their lack of precision, and their inability to convey the true depths and nuances of emotion. In speech we compensate with gesture and inflection, tone and cadence. In writing we have no such niceties. For example; you can love your friends, you can love your family, you can love a pet, you can love a band, you can love a color, you can love your romantic partner... but to convey what you really mean and the depth you put into that word you need so many accessory adjectives and a hope that your audience can even come close to comprehending or trying to emulate the experience to reach an understanding.
To tell someone how you are feeling is difficult at best, and to describe what it means to be human is impossible...
My name is Jeffrey Hepburn, and I'm a young writer, graphic design artist, and aspiring filmmaker.