Koh-Dee

For this blog post, I will discuss the aesthetics and affects of sadness, which have also resulted in my art. In the world of music, the aesthetics of sadness are shaped through the use of various elements, elements such as melancholic melodies, slow tempos, minor keys, and the conjuring of ‘sad’ or ‘downhearted’ atmospheres (Webster et al., 2005). Dynamic contrasts may be present in the music, which can heighten the emotional impact, such as soft verses leading to powerful choruses. Lyrical content also plays a significant role when shaping music’s effect on us, especially when considering themes of heartbreak, loss, and introspection (Pond et al., 2023). The conjoined aspects of these musical components help shape a song to be considered ‘sad.’

In my creative practice, I have crafted several songs/compositions that reflect how I felt then. A few of these examples reflect the times when I was experiencing sadness. In particular, I would like to focus on one of my relevant pieces. This song is a ‘somewhat’ instrumental track featuring lyrics from a known ‘mystery’ artist called ‘Shiloh Dynasty.’ Shiloh’s music has been known for reflecting the aesthetics of sadness with her melancholic melodies, and she keeps her true identity a mystery (Arline, 2020). Shiloh Dynasty is an online persona linked to mysterious voice recordings published on SoundCloud, Vine, and Instagram (Tracklib, 2022). The Instagram videos she has uploaded only display her singing short lyrical clips and sometimes playing the guitar. Her lyrical content describes feelings of loss, self-doubt, and other similar emotions correlating with sadness. The tone of voice she sings sounds quite sad, and these songs often result in a minor key. The use of minor scales often makes the listener relate to her downhearted state and atmosphere (Kawakami et al., 2013).

Shiloh Dynasty’s short video clips are known for her retrospective tone of voice, difficult-to-see (low-quality) videos, and overall downhearted vibe. This is why I decided to sample her lyrics, as it contributed to the overall ‘sad’ vibe that I felt at the time. I slowed down her lyrics, detuned them slightly, and added a lower octave duplicate of the recording - to enhance the disheartened vibe by altering the tonal characteristics (Hevner, 1937). The chopped-up lyrics seem almost hard to distinguish - unless you are already familiar with the artist and original video. I try my best to accentuate this feeling of dread by trying to keep the song’s overall tone somewhat chromatic (Margounakis et al., 2012). I also create sonically soft verses (stripped-back instrumental tracks), then powerful choruses with more/louder bass, drums, percussion, and additional aesthetic sounds. You can listen to the song here: https://on.soundcloud.com/qtVsf. The affect that the above-spoken aspects cause is that of a melancholic experience, where the listener may relate to the ‘sadness’ of the overall tone of the track (Brady et al., 2003). These musical aspects that I draw upon are the techniques that I would instate to recreate a piece to elicit sadness in the listener. Which, when you think about it, is a potent tool. However, the listener must first permit themselves to relate to the music, to feel what I was trying to portray (or feeling I was trying to portray) (Dunn, 2014).

Another example of sadness in music can be displayed by the up-and-coming genre of ‘sad and reverbed’ remixes (Martin, 2023). The slowing down of the original song tempo also creates a pitch shift, lowering the track’s pitch (usually to a minor scale), which means the composition will feel more melancholic (Hevner, 1937). An excellent example of this style can be found here (with a slowed-down version of Bea Miller’s ‘Feel Something’): bea miller - feel something (slowed down).

In conclusion, sadness can be represented in music in many ways. Lowering the pitch, slowing down the tempo, or creating a piece within a minor key are all sufficient ways to elicit a sad emotion within the listener. The use of dynamic contrasts in the structure of the music - can heighten the emotional impact of the composition, and lyrical content, which displays the aesthetics of heartbreak and loss, also helps contribute to the overall sadness of a song.

References:

Webster, G. D., & Weir, C. G. (2005). Emotional responses to music: Interactive effects of mode, texture, and tempo. Motivation and Emotion, pp. 29, 19–39.

Pond, N., & Leavens, D. (2023). Comparing effects of sad melody versus sad lyrics on mood. Psychology of Music, 03057356231189680.

Arline (2020). Shiloh Dynasty: The Vibe that Has Defined My College Learning. KTSW 89.9. https://ktswblog.net/2020/09/30/shiloh-dynasty-the-vibe-that-has-defined-my-college-learning/

Who Is Shiloh Dynasty? The Mysterious Lo-fi Icon. (2022, February 11). Tracklib.com. https://www.tracklib.com/blog/who-is-shilohdynasty-samples-lofi-xxxtentacion

Kawakami, A., Furukawa, K., Katahira, K., & Okanoya, K. (2013). Sad music induces pleasant emotion—frontiers in psychology, 4, 311.

Hevner, K. (1937). The affective value of pitch and tempo in music. The American Journal of Psychology, 49(4), 621–630.

Margounakis, D., & Politis, D. (2012). Exploring the relations between chromaticism, familiarity, scales, and emotional responses in music. In 19th Colloquium on Music Informatics.

Brady, E., & Haapala, A. (2003). Melancholy as an aesthetic emotion. Contemporary Aesthetics (Journal Archive), 1(1), 6.

Dunn, R. E. (2014). Life music as a beginning point: Connecting with the intuitive listener. The Musical Experience: Rethinking music teaching and learning Online: Oxford Scholarship Online.

Martin, L. (2023). Slowed+ ReverbA Pop Genealogy. Journal of Popular Music Studies, 35(3), 5–31.

The author's ideas, when interpreting a work, are the most crucial ideas that should be important to the author (Davies, 2006). I say this as an artist, creating for self-expression only. However, when considering the idea of communicating a story to a broader audience, with the intent of having the story be more understood by many, it is important to hear back the ideas and feedback from them (Lawrence et al., 2015). The author's intent is necessary when justifying whose ideas are more important when interpreting a work. The audience's expectation becomes a selling point and a communication barrier when trying to sell an idea to people unless the idea had come from a place of pure self-expression - meaning that no audience perception was created in mind (Green, 2007).

Interpreting a work through the author's ideas is crucial as it provides insight into the creator's intent, enriching the understanding of the piece (Irvin, 2006). Authors bring a unique perspective, and their intentions guide the narrative, allowing audiences to grasp the nuances and intended messages (McLaverty, 1984). While audience expectations play a role, prioritizing the author's ideas creates a deeper appreciation for the art form, acknowledging the creator's vision and purpose. It also enables a more nuanced discussion about the intersection of intent and audience reception in self-expressive art.

Diving deeper into the importance of the author's ideas in interpreting a work, it is essential to recognize that creators infuse their creations with personal experiences, beliefs, and cultural understanding (Sharma, 2011). Understanding the author's intentions offers a foundation for analyzing themes, symbols, and story decisions. This depth of analysis allows audiences to appreciate subtle layers and intended complexities that might be overlooked by solely relying on audience expectations.

Self-expressive art often serves as a medium for the artist to communicate, provoke thought, or evoke emotions. By prioritizing the author's ideas, one engages in a dialogue with the creator, exploring the motivations and artistic decisions that shape their work (Murnighan, 1996). By going beyond simple consumption, this method cultivates a deeper bond between the viewer and the creative process.

While audience expectations undoubtedly influence reception, relying solely on them risks overlooking the uniqueness of the author's voice (Schilb, 2007). Emphasizing the author's ideas provides a balanced perspective, acknowledging the dynamic interplay between creator and audience while respecting the autonomy of the artist's vision. This understanding enhances an appreciation of the work as a complex manifestation of creativity.

The Death of the Author theory adds another layer to the interpretation of works. Presented by Roland Barthes, this theory suggests that once a work is created and presented to the audience, the author's intent becomes less relevant, and the focus shifts to the reader's interpretation instead (Barthes, 1992). This viewpoint promotes a more open-minded interpretation in which readers are free to interpret the work without regard to the author's intentions.

From this viewpoint, the author's ideas may be considered one of many interpretations rather than the definitive guide. It allows for a broader exploration of diverse meanings from the interaction between the text and the reader (Arrojo, 1997). The Death of the Author theory challenges the notion of a single, fixed interpretation, emphasizing the evolving nature of meaning within the context of individual experiences and changes within society (Hawthorn, 2008).

However, even within this framework, understanding the author's ideas can still be valuable. While not dictating a singular interpretation, knowledge of the author's perspective can serve as one lens through which the work is viewed. The Death of the Author theory does not dismiss the author entirely but creates a more inclusive dialogue where the author and reader's interpretation contribute to the work's meaning.

Neon Genesis Evangelion, a complex and influential anime series, is an interesting case for exploring the interplay between the author's intent, audience interpretation, and the Death of the Author theory. Created by Hideaki Anno, the series is known for its psychological depth, intricate symbolism, and unconventional narrative (Gatti, 2021). The series, intentionally or not, challenges traditional mecha anime aspects and explores complex psychological and philosophical themes. While Anno's intent adds a layer of understanding, the Death of the Author perspective allows viewers to embrace diverse interpretations (Ortega, 2007). The ambiguity in the narrative and character designs prompts audiences to actively decipher meaning, creating discussions that go beyond the creator's original intentions.

In conclusion, adopting the Death of the Author theory offers an independent perspective on interpreting artistic works. It encourages a shift from a single, fixed understanding dictated by the creator's intent, creating a more inclusive dialogue where diverse meanings emerge through the text and the audience. As demonstrated by Neon Genesis Evangelion, the Death of the Author theory invites viewers to actively engage with the narrative, embracing ambiguity and contributing to an ever-evolving discussion that extends from the perspective of the creator's original intentions.

References:

Davies, S. (2006). Authors' intentions, literary interpretation, and literary value. The British Journal of Aesthetics, 46(3), 223-247.

Lawrence, J. F., Niiya, M., & Warschauer, M. (2015). Narrative writing in digital formats: Interpreting the impact of audience. Psychology of Language and Communication, 19(3), 201-221.

Ong, W. J. (1975). The writer's audience is always a fiction. Pmla, 90(1), 9-21.

Green, M. S. (2007). Self-expression. OUP Oxford.

Irvin, S. (2006). Authors, intentions and literary meaning. Philosophy Compass, 1(2), 114-128.

McLaverty, J. (1984). The concept of authorial intention in textual criticism. The Library, 6(2), 121-138.

Sharma, A. (2011). Investigation of Creative Experience of Creator. In ICORD 11: Proceedings of the 3rd International Conference on Research into Design Engineering, Bangalore, India, 10.-12.01. 2011.

Murnighan, J. K. (1996). Author emotions, editor roles, and the value of dialogue. Rhythms of academic life: Personal accounts of careers in academia, 135-142.

Schilb, J. (2007). Rhetorical refusals: Defying audiences' expectations. SIU Press.

Barthes, R. (1992). The death of the author, 1968. Na.

Arrojo, R. (1997). The" Death" of the Author and the Limits of the Translator's Visibility. Benjamins Translation Library, 20, 21-32.

Hawthorn, J. (2008). Authority and the Death of the Author. In Authority Matters (pp. 65-88). Brill.

Gatti, G. (2021). The Mecha that therefore we are (not): an eco-phenomenological reading of Neon Genesis Evangelion. Series-International Journal of TV Serial Narratives, 7(1).

Ortega, M. (2007). My father, he killed me; my mother, she ate me: Self, desire, engendering, and the mother in Neon Genesis Evangelion. Mechademia, 2(1), 216-232.

Postmodernism has been criticized for its relativism, making it challenging to establish objective truths or standards (Young, 1997). Critics argue this can lead to a lack of shared values and a communication breakdown (McGowan, 1991). Additionally, some find postmodernism's focus on deconstruction and skepticism towards 'metanarratives' to be excessively skeptical, potentially hindering meaningful discussion or social progress. The rejection of 'grand narratives' has also been seen by some as promoting a sense of nihilism or apathy (Slocombe, 2003). Critics suggest that postmodernism's emphasis on individual perspectives might undermine efforts to address broader social issues.

"Community," a TV show created by Dan Harmon, often plays with postmodern themes and meta-commentary on storytelling. The show embraces self-awareness and deconstruction of traditional narrative structures (PBS Digital Studios - YouTube. 2013). The character of Abed Nadir, for instance, expresses postmodern ideas by frequently commenting on the show's existence and acknowledging it as a television series. The show's diverse characters and constantly shifting genres reflect a postmodern approach, challenging conventional expectations (Sparksman, 2020). However, some argue that 'Community' maintains a balance by incorporating traditional storytelling elements and character development, which avoids a complete nihilism or relativism experience. In its essence, 'Community' provides a platform for exploring postmodern ideas within the context of a sitcom, allowing viewers to engage with both the deconstruction of storytelling norms and the emotional arcs of its well-thought-out characters.

Throughout history, artists have displayed trends that align with postmodern ideologies despite the formal/academic conceptualization of postmodernism emerging in the mid-20th century (Thompson, 2017). The notion that artists have always been "postmodern" can be argued based on several key aspects. Firstly, several movements in the historical art world have incorporated the postmodernist concept of questioning authority and existing conventions (Zagorin, 1999). The Renaissance, for instance, witnessed artists like Leonardo da Vinci pushing the boundaries of traditional artistic techniques, challenging the established norms of the time (Kemp, 2007). Similarly, the Dada movement of the early 20th century rejected conventional artistic standards, embracing abstract and anti-art sentiments promoting postmodern tactics (Bonnett, 1992).

Secondly, artists have consistently demonstrated a willingness to experiment with diverse styles and mediums, reflecting the postmodern emphasis on rejecting a single, dominant artistic style. The works of Pablo Picasso, who moved through various artistic styles and periods, showcase this fluidity and rejection of artistic conformity (Walther et al., 2000). Lastly, intertextuality, a key postmodern concept, is reflected in how artists draw inspiration from and reference previous works. The use of mythological themes in classical art or the reinterpretation of biblical narratives in Renaissance paintings can be seen as early instances of intertextuality (Carron, 1988). Essentially, while the formal label of 'postmodernism' might be a recent addition to the art world's vocabulary, the historical trajectory of art reveals a consistent thread of challenging norms, embracing diversity, and engaging with intertextuality - which are all integral parts of the postmodern world. Artists, in their continuous evolution and rebellion against artistic expectations, have inherently embodied postmodern principles throughout the ages.

In conclusion, the historical context of art encapsulates a profound alignment with postmodern principles, extending far beyond the introduction of the formal term 'postmodernism' (Lyotard, 2016). The deliberate use of abstract and anti-art sentiments is a testament to artists' tendencies to employ postmodern tactics, challenging established norms and subverting conventional artistic expectations. The persistent willingness to experiment with diverse styles and mediums reflects a commitment to postmodern ideas, emphasizing rejecting a singular, dominant artistic style (Gaggi, 2015). Analyzing the scope of artists like Pablo Picasso, whose work changed over various styles and periods, showcases the fluidity and deliberate rejection of artistic conformity inherent in the postmodern approach.

The influence of postmodernism extends beyond traditional art and impacts today's media. In the current landscape, postmodern ideas take shape in various forms of media, shaping narratives, aesthetics, and the overall approach of storytelling (McRobbie, 2003). This includes deconstructing traditional storytelling structures and incorporating self-awareness in television, film, literature, and digital media. The various influences of intertextuality within the artistic realm, displayed in artists drawing inspiration from and referencing previous works, confirm that postmodern ideas have persisted throughout art history (KhosraviShakib, 2012). Intertextuality appears as a constant feature of artistic expression, whether it is shown in the Renaissance period of stories or the classical art movement, making use of mythological elements.

To finish, the roots of postmodernism run deep in art channels. Its influence continues to shape not only traditional artistic expressions but also the dynamic landscape of contemporary media. Artists, whether in traditional art forms or modern media, share a common understanding of challenging norms, embracing diversity, and engaging with intertextuality.

References:

Young, R. (1997). Comparative methodology and postmodern relativism. International Review of Education, 43, 497-505.

McGowan, J. (1991). Postmodernism and its Critics. Cornell University Press.

Slocombe, W. (2003). Postmodern nihilism: Theory and literature (Doctoral dissertation, University of Wales).

Is Community A Postmodern Masterpiece? | Idea Channel | PBS Digital Studios - YouTube. (2013). Www.youtube.com. https://www.youtube.com/watch?v=YanhEVEgkYI

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Sparksman, K. (2020, July 24). Is Community is a postmodern masterpiece? Medium. https://sparksman.medium.com/is-community-is-a-postmodern-masterpiece-bc5227f6bada

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Thompson, W. (2017). Postmodernism and history. Bloomsbury Publishing.

Zagorin, P. (1999). History, the referent, and narrative: Reflections on postmodernism now. History and theory, 38(1), 1-24.

Kemp, M. (2007). Leonardo da Vinci: the marvellous works of nature and man. Oxford University Press.

Bonnett, A. (1992). Art, ideology, and everyday space: subversive tendencies from Dada to postmodernism. Environment and planning D: society and space, 10(1), 69-86.

Walther, I. F., & Picasso, P. (2000). Picasso. Taschen.

Carron, J. C. (1988). Imitation and Intertexuality in the Renaissance. New Literary History, 19(3), 565-579.

Lyotard, J. F. (2016). Answering the question: What is postmodernism?. In Postmodernism (pp. 38-46). Routledge.

Gaggi, S. (2015). Modern/Postmodern: A study in twentieth-century arts and ideas. University of Pennsylvania Press.

McRobbie, A., & Mcrobbie, A. (2003). Postmodernism and popular culture. Routledge.

KhosraviShakib, M. (2012). Inevitability of arts from intertextuality. Frontiers of Language and Teaching, 3, 183-189.

Of course, video games are art. The amount of dedication, knowledge, skill, and practice it takes to construct a game is immense (Dietz, 2007). Anything that takes such a creative process is considered art (Kleinman, 2005). From developing patents to creating the idea itself, the only differentiator is the amount of popularity one gets (Fried, 1967) - and that is when we call it art after we have appreciated it. This is why art is so subjective because our idea of it (what it looks like, how it is) spawns from each of our individualized senses of context (Gemtou, 2010). So, after you have appreciated something, can you call it art? I would say yes. If we see the term’ art’ as more a descriptor than a noun, we start to recognize it differently, which flips our perspective (Spiegelman, 2005). We grow up recognizing different pieces of art throughout a mass amount of cultures. The fact that this is true, that we do not always relate to what one another would specify as art, validates this.

In any case, this brings me to the discussion of video games. What differentiates a ‘good’ game from a ‘bad’ one is personal taste (Juul, 2019). We as humans are not entertained by everything, so we would still have preferences as to what video games we like (if any) (Graeber et al., 2021). People will appreciate what they have experienced happy or positive memories with (Marcus, 1992). This means that we will enjoy video games on an entirely subjective level. The objective aspect at play here is to do with the game’s marketing in correlation with the quality of the product (how well the game controls, depth of storytelling/emotional content, music, and visuals) (Walker, 2003).

This is to say that video games are constructed of multiple facets of art, so the product itself has to be defined as art (Clarke et al., 2007). If we consider music, graphics (images/photography, video/videography), and storytelling to be an art form, we already have our answer. The differences are in our perspectives on what we relate to and do not. Video games are another way to explore and express our imagination (Shapiro et al., 2012).

If we describe a game as ‘bad,’ it is because we experienced something negative during the gameplay (Prot et al., 2012). This may even occur during the place and time of playing (outside of the video game), which affects the player’s direct environment (Marcus, 1992). On other occasions, a ‘bad’ video game might not ‘link up’ - in terms of story (logistics and logic), irregular gaming controls (making it harder for the player to control), dodgy music and audio cues (not lining up with proper music theory), or unfinished graphics (which cut corners in terms of realism or aesthetics) (Nardone et al., 2023). Another aspect of a ‘bad’ video game could be the ethics involved or what is portrayed, which can likely be subjective (Sicart, 2011).

References:

Dietz, F. (2007). " How difficult can that be?"-The work of computer and video game localization. Revista tradumàtica: traducció i tecnologies de la informació i la comunicació, (5), 4.

Kleinman, S. (2005). The art of everything. Quest, 57(2), 255-261.

Fried, M. (1967). Art and objecthood. Visual Culture: Experiences in Visual Culture, 12-23.

Gemtou, E. (2010). Subjectivity in art history and art criticism. Rupkatha Journal on Interdisciplinary Studies in Humanities, 2(1), 2-13.

Spiegelman, W. (2005). How poets see the world: The art of description in contemporary poetry. Oxford University Press.

Juul, J. (2019). Handmade pixels: Independent video games and the quest for authenticity. Mit Press.

Graeber, D., & Wengrow, D. (2021). The dawn of everything: A new history of humanity. Penguin UK.

Marcus, C. C. (1992). Environmental memories. In Place attachment (pp. 87-112). Boston, MA: Springer US.

Walker, M. H. (2003). Games That Sell!. Wordware Publishing, Inc..

Clarke, A., & Mitchell, G. (Eds.). (2007). Videogames and art. Intellect books.

Shapiro, M. A., Peña-Herborn, J., & Hancock, J. T. (2012). Realism, imagination, and narrative video games. In Playing video games (pp. 323-340). Routledge.

Prot, S., McDonald, K. A., Anderson, C. A., & Gentile, D. A. (2012). Video Games:: Good, Bad, or Other?. Pediatric Clinics, 59(3), 647-658.

Nardone, V., Muse, B., Abidi, M., Khomh, F., & Di Penta, M. (2023). Video game bad smells: What they are and how developers perceive them. ACM Transactions on Software Engineering and Methodology, 32(4), 1-35.

Sicart, M. (2011). The ethics of computer games. MIT press.

Banksy’s take on the Simpson’s intro takes a very dark turn at a pivotal moment in the scene. I was first attracted to the idea of the conjunction of the irony in ‘not writing on the walls’ when considering Banksy is a graffiti artist. Stating this in the scene while Bart writes his ‘mistakes’ on the chalkboard expresses a sense of rebellion (Brassett, 2009). Going against what the media portrays as ‘good’ is a perfect example of what artists can help to change and especially popularize (Vervoort et al., 2014). This is also what I think makes art so empowering. Artists have the power (alongside modern-day influencers) to change people’s perspectives as much as highly regarded politicians do (Edelman, 1995). I do not know much about Banksy, apart from what I have seen in this video and a few other pieces by him, but I know that he (or she) likes to keep their identity disclosed (Pinto, 2022). This tells me one of two things: one, they are not interested in the fame that they may receive in creating their art (proposing that the art and message behind it that they are trying to portray is more important than fame to them), or two, they are intentionally covering up their name and identity for security/safety reasons. I say this as one’s personal opinion can make or break the expectations that other people will have of you and the amount they will relate to and like you (Leshner, 2015). As humans, we naturally want to feel accepted and appreciated (Hibbing et al., 2004), so when something threatens this - like the judgment of others, we tend to feel scared (Hodson, 2013).

The Simpsons is a popular TV show, which could act as a rather bold move for them to showcase this collaboration to their immense audience. I assume some rather heavy consideration was put into place to what should be and should not be shown - regarding this intro. I felt particularly interested in the mass-production scenes of the introduction. For whatever reason, Banksy and The Simpsons are trying to bring attention to the industries that exploit (which hints at Asian worker factories) human workers - and their seemingly unfair or inhuman work stations/environments. The sad music reflects the emotions those people (and characters) felt in those industries (Chong et al., 2013). Culturally, this scene is meant to start a stir by bringing awareness to human and animal rights (Regan, 2003).

The culture industry is created and popularized by mass amounts of attention surrounding a single topic or idea (Hesmondhalgh, 2008). The less accepting somebody is to a particular subject or concept, the less they will like and listen to it (Turner, 1978). When two considerable resources of mass audiences collide (i.e., The Simpsons and Banksy), it will always be to bring attention to the portrayed message (Hamm, 2022) - and usually quite strategically, or at least considering business. So, in this case, the unfairness and environments constructed in this intro are meant to reflect the ‘real world’ equivalent and start getting people thinking.

I think that the better the quality (quality referring to a better product considering what we already know) of the five senses (sight, smell, touch, hearing, and taste) and the better the production quality, the more polished the desired message will come across (Rosenblum, 2011). Regardless of the message being perceived and projected, the central concept of whether it will get accepted and talked about depends on how much influence the topic (or product) gets (Christensen et al., 2005). With that in mind, the culture industry has been built to change constantly, as any other industry has been - as we humans are fundamentally always changing (Mahoney, 2002). My part in this is to observe, consider (rationalize with my prior understanding of the context of the topic’s history), and then re-debate. This is why we as students are meant to ‘self-reflect’ so heavily, because we are told to learn - and without an open mind, without understanding acceptance from the opposite side (and points), we cannot learn any further (Novak et al., 1984).

References:

Brassett, J. (2009). British irony, global justice: a pragmatic reading of Chris Brown, Banksy and Ricky Gervais. Review of International Studies, 35(1), 219-245.

Vervoort, J. M., Keuskamp, D. H., Kok, K., van Lammeren, R., Stolk, T., Veldkamp, T., ... & Rowlands, H. (2014). A sense of change: media designers and artists communicating about complexity in social-ecological systems. Ecology and Society, 19(3).

Edelman, M. (1995). From art to politics: How artistic creations shape political conceptions. University of Chicago Press.

Pinto, S. (2022). Names shredded apart: Banksy, pseudonymity, and fame. Celebrity Studies, 1-4.

Leshner, A. I. (2015). Bridging the opinion gap. Science, 347(6221), 459-459.

Hibbing, J. R., & Alford, J. R. (2004). Accepting authoritative decisions: Humans as wary cooperators. American Journal of Political Science, 48(1), 62-76.

Hodson, D. (2013). Don’t be nervous, don’t be flustered, don’t be scared. Be prepared. Canadian Journal of Science, Mathematics and Technology Education, 13, 313-331.

Chong, H. J., Jeong, E., & Kim, S. J. (2013). Listeners’ perception of intended emotions in music. International Journal of Contents, 9(4), 78-85.

Regan, T. (2003). Animal rights, human wrongs: an introduction to moral philosophy. Rowman & Littlefield Publishers.

Hesmondhalgh, D. (2008). Cultural and creative industries. The SAGE handbook of cultural analysis, 552-569.

Turner, R. H. (1978). The role and the person. American journal of Sociology, 84(1), 1-23.

Hamm, A. (2022). New Objects, New Boundaries: How the" Journalism of Things" Reconfigures Collaborative Arrangements, Audience Relations and Knowledge-Based Empowerment. Digital Journalism, 1-20.

Rosenblum, L. D. (2011). See what I'm saying: The extraordinary powers of our five senses. WW Norton & Company.

Christensen, T., & Haas, P. J. (2005). Projecting politics: political messages in American film. ME Sharpe.

Mahoney, M. J. (2002). Constructivism and positive psychology. Handbook of positive psychology, 745, 750.

Novak, J. D., & Gowin, D. B. (1984). Learning how to learn. cambridge University press.

This song is about embracing one's uniqueness and shining in one's own way. It emphasizes the importance of staying true to oneself and not conforming to societal expectations. The lyrics mention studying, practicing, and planning to achieve personal goals, specifically mentioning a desire to go to Japan and play music there.

The song also touches upon the theme of overcoming fears and insecurities. It encourages the listener to live without fear, support others, and find joy in life. The lyrics express the idea of not letting negative thoughts or external influences control one's life and to find strength and happiness within oneself.

Additionally, the song highlights the importance of perseverance and not giving up. It mentions facing challenges, such as the "dragons of my mind," but remaining determined to succeed. The lyrics express a sense of hope and optimism for the future, as well as a commitment to personal growth and self-improvement.