TrueLife - Brandon Singletary - Prophets Rise From Catacombs

Episode Date: March 8, 2025

One on One Video Call W/George https://tidycal.com/georgepmonty/60-minute-meetingSupport the show:https://www.paypal.me/Truelifepodcast?locale.x=en_US🚨🚨Curious about the future of psychedelics? Imagine if Alan Watts started a secret society with Ram Dass and Hunter S. Thompson… now open the door. Use Promocode TRUELIFE for Get 25% off monthly or 30% off the annual plan For the first yearhttps://www.district216.com/Brandon SingletaryWelcome to the show, where ideas don’t just exist—they evolve, collide, and explode into new realities.Today, I’m joined by an artist, a philosopher, and a world-builder in the truest sense—Brandon Singletary. He doesn’t just create art; he architects entire realities, forging bridges between the cosmos and human cognition. From mesmerizing short films to intricate philosophical art books, from vast series of illustrations to a living, breathing map of worldviews, aesthetics, and ways of creation, Brandon is constructing a new visual and conceptual language.His work isn’t just seen—it’s experienced. It’s a doorway into the infinite, an invitation to reimagine what’s possible when imagination meets structure, when art meets philosophy, when vision meets execution.Strap in—this is going to be a journey.Brandon, welcome to the show.Branden Singletary - Artist · Converting ideas into worlds that electrify the soul. in Birmingham, AL, USA :: BehanceBranden Singletary (@branden_singletary) - Instagramhttp://linkedin.com/in/branden-singletary One on One Video call W/George https://tidycal.com/georgepmonty/60-minute-meetingSupport the show:https://www.paypal.me/Truelifepodcast?locale.x=en_USCheck out our YouTube:https://youtube.com/playlist?list=PLPzfOaFtA1hF8UhnuvOQnTgKcIYPI9Ni9&si=Jgg9ATGwzhzdmjkg

Darkness struck, a gut-punched theft, Sun ripped away, her health bereft. I roar at the void. This ain't just fate, a cosmic scam I spit my hate. The games rigged tight, shadows deal, blood on their hands, I'll never kneel. Yet in the rage, a crack ignites, occulted sparks cut through the nights. The scars my key, hermetic and stark. To see, to rise, I hunt in the dark, fumbling, fear. through ruins maze, lights my war cry, born from the blaze.

The poem is Angels with Rifles. The track, I Am Sorrow, I Am Lust by Codex Serafini, check out the entire song at the end of the cast. Ladies and gentlemen, welcome back to the True Life podcast. I hope everybody's having a beautiful day. I hope the sun is shining, hope the birds are singing. I hope the wind is at your back. I hope maybe you got the day off and you're eating some mushrooms.

You're doing something beautiful with the person you love. That's what I hope you guys are doing. But if you're hanging out with us on the show today, which I'm stoked you are, I got an incredible show for you guys today. Incredible artist, filmmaker. Let me just go ahead and give you a quick rundown on this incredible individual. So today I'm joined by an artist, a philosopher, and a world builder in the truest sense, Brandon Singletary.

He doesn't just create art. He architects entire realities. forging bridges between the cosmos and human cognition. From mesmerizing short films to intricate philosophical art books, from vast series of illustrations to a living, breathing map of worldviews, aesthetics, and ways of creation. Brennan is constructing a new visual and conceptual language. His work isn't just seen, it's experienced.

It's a doorway into the infinite, an invitation to reimagine what's possible when imagination meets structure, when art meets philosophy, when vision meets execution. So strapping. Brandon, how are you today? I'm doing all right. Thank you. Thank you, George, for having me on.

Happy to be here. Yeah, man. Me too. We're going to go here. Me too, man. I want to just briefly tell everybody I was, I think it was on LinkedIn where we met, and I saw this video of you, and I went to YouTube and I checked it out. I'm going to put all the links down there.

And some of these videos were just mesmerized. It's like anything I've ever seen. But before we jump into that, man, I just wanted to, I kind of wanted to back up the train a little bit. And maybe you could start with, you know, some of your who you are, how you got here, like some of your influences, man. I just want to throw it back to you wherever you want to start at, man. Let me know. Yeah, who I am. Well, that's always tricky to answer.

So I think I'll skip it for now. I think a lot of the things that I do will kind of assemble who I am in a sense. like ego tends to dissolve when you get to these to these particular areas, I suppose. But let's see. What do I, yeah, I mean, your introductory description did a very excellent job way more adequately than I could probably do myself. It's like, yeah, that's pretty good.

I am, yeah, in my own work, I'm an artist. I weave together philosophy and other concepts from other fields of science, from the natural sciences. and I try to see if I can make something of a world or a series of worlds. Really, each world is kind of like a just a refinement of the previous version of it. And I tend to do updates every single year or so, or at least that's when I feel compelled to blitz through a whole other new world creation project. So yeah, that more or less some things up without getting too deep into the details,

which I'm sure we'll get into soon. Yeah, absolutely. For me, I wrote down some notes and I wrote down that like your work feels it's like a fusion of ancient mysticism and modern philosophy and speculative futurism. When I was watching desire, I almost felt as if it was, I would say biblical, but I don't think that that really describes it because there's so much more in there. It's sort of like, it's sort of like this sci-fi world building meets religion meets meaning like there. Like who are your influences, man? How does this come about? Influences.

Hmm. Well, at the time of desire, which was the short film you mentioned, let me see. I think Jung, Heraclitus, Nietzsche, maybe the main influences at the time. I didn't get too deep into philosophy yet. I mean, before, I mean, during that area, I guess I also read a little bit of Kant. I think I was more or less just getting into philosophy at that time. but yeah. So in the process of it?

Carry on, please. After that, that's when I started ding a little bit more into it because I wanted to try and take Desire and see how much further the ideas could go. It's like, well, they started, like, Desire started off as a D&D sort of world of sorts, and it was super fictional at the time. And then I was like, okay, so after the D&D thing,

then Desire developed because I wanted to branch out away from, I guess, the core factions of the fictional story that I've made at the time. And then I, you know, made them as a shrug as I possibly could, taking their ideologies and pushing them all the way into the vast reaches of the cosmos. And then after the short film concluded, I was like, okay, let's see how much further I can push these. And it turned into a, Metaforma, which is an art book.

And each, I guess you could say, element was turned into like a symbol of sorts, into a mathematical S sort of symbol that I could use for a language, or at least the semblance of one. And during those times, I mean, the main influence from Metaforma was Ludwig Wittgenstein and his tractatus. Wonderful work, especially at the time that I founded in, It was pretty much exactly what I was looking for, and I didn't necessarily even know that such a thing existed at the time, and I just found that wonderful. So that's why it took on the appearance that it did, and I'm somewhat thankful for that.

Then, let's see, Aquinas was another influence during that time, so was Leibniz. I think I'm blanking out on a number of other ones, but yeah, those were the core influences at that time, too. And since then, I've just kind of been orbiting around a few other ones, maybe a little bit of delus. But, yeah, that's pretty much it. Man, it's music to my ears. I have another friend that comes on with me sometimes, Dr. David Solomon, and he's a medieval mystic scholar. We talk about all these crazy texts, like he goes off on Aquinas, and then he talks about these books like The Cloud of Unknowing and obviously Carl Jung too. And so I can see that in your work.

Like it is, it is really, it has a lot of gravity towards it. Like I felt when I was watching it, like I just kept getting pulled in deeper and deeper. And I'm like, do what, what is this mean right here? It is so contagious, man. And I've never seen anything like it. Like I know people within the sound of my voice that may not be watching, they're going to be like, Jesus Christ, why don't you put up a clip? What's wrong with you? You know, but I want everyone to go down to the YouTube.

If you're within the sound of my voice, go check this out. It's like nothing you've ever seen before. It's really mesmerizing. Is that, do you, what led you to this? Like, I'm so curious, like, how one finds themselves making this. Like, were you all, you're like a seeker? Were you searching out these ancient philosophers? Are you attracted to it on some level?

You're looking at your shadow or what's going on over here, man? Yeah, a number of my friends at the time were Jungian, or at least they're deeply invested in Jungian. And they found this, the development of my things interesting for, for, for a number of number of reasons, I'm sure. But when I showed them the video, it's like, yeah, I'm clearly Jungian influence and I showed them the book. They're like, okay, you're committing some sort of alchemical thing. You're doing alchemy. It's really what they were saying. It's like, this is an alchemical tractus. I was like, maybe so. I didn't really know what that meant at the time, of course. And I

only like vaguely understood Jung a little bit. But I was like, yeah, upon reflection, even now, it's like, yeah, I guess that was an alchemical tract is because it was a very difficult and arduous thing to make. As for how I got there, it's, I guess I was in a sense of seeker. I was trying to find comprehensive answers to where I am. Like what exactly is reality? What is the world? How can I, how can I grasp it most easily? Or at least can I, can I, is there a way to typify this world? Because at the time, I was also, well, I guess that's why there was Jungian influence. I was into as a psychological types, his cognitive functions of sorts. And I just wanted to like, I found a few things that I kind of disagreed with them. So I just kind of reformulated the structure a little bit.

I was like, okay, yeah. And that kind of form of the basis of the of the different categories in desire at least. And by proxy, everything else that came afterwards. Yeah, I think the long and short of it was, I just, I wanted answers and I wanted to try and merge the psychological type. with these cosmic patterns of sorts with the with I guess well yeah astronomy and also cosmogony and all of that yeah cosmology I get those mixed up however yes it's it's you know I Zook out on language sometimes like a lot like I'm fascinated by it I'm fascinated by the evolution of language and it's it when I when I say language to you like what comes to your mind when I say hey what do your thoughts on

language. Go on someone with this, just what you do that. Yeah, sure. But whenever I hear the word language, I always think of syntax and how things are, well, ordered and, well, yeah, structured and conducted in reality. Because I guess even now, I do hold the idea that everything can be seen as a kind of language, or at least in some sense. I don't think I hold on to that idea particularly strong.

anymore, but yeah, that's my first thought. Yeah, when I look at the video and I'm so soaked to get to talk to lots of people, but I feel like we're on this cusp of our language changing from completely verbal to a more, more perfect logos, if you will. I think it was, like on the guy's name, but Alexandria of Joe, damn, I can't think the guy's name. Long story longer, it seems that the imagery is moving in a way that makes more meaningful language. And I think that that's one of the things I grasped when I was looking at your videos is like, this is really speaking to me not only on a verbal level.

It's not only coming through through language, but it's like it's coming through with such powerful imagery that I am able to create my own meaning from it on some level. Do you see our language changing in a way that's becoming more meaningful with images? on top of syntax and on top of the verbal aspect of it? Yes. Yeah, I can somewhat speak to that particular experience, too. It's kind of why my work is the way that it is. I do want people to try and grasp it and apprehend their own interpretation of it because that's the basic function of art, right?

But I want my philosophy to be something that is interpreted, something that they can, to see philosophy. he has a kind of art in itself. As for the changing of language into more of a pictorial or symbolic sense of it, yeah, I guess I haven't really been paying too much attention to trends in that way, but I suppose it would make sense for them to kind of be going in that direction. Like letters and text in general seem to not be as, or at least increasingly less common, I suppose, or at least less favored.

Um, yeah, it's an interesting, interesting development. That's for sure. Yeah, I'm a big fan of Marshall McLuhan and he talks, he's got this great book called the Gutenberg Galaxy. And in that book, he talks about the way in which the printing press gave us ideas like, like, um, uh, repeat, like exact repeatability. You know, when you, before you had the printing press, it was always like storytellers. But then you get this printing press and it's like, I can tell you exactly what it said. But that leaves out so much. It leaves so much interpretation out.

It leaves so much of the individual creating the story in their own mind. And it seems like we're on the cusp of that change again. Like when I see your videos and I see other people that I really admire creating this new type of artwork, it's like a whole new change on language. I'm so excited about it. What is your, do you think maybe it's possible that we could see ourselves in another, in the near future with radical changes like the printing. Press gave us. Like maybe large language models are changing the landscape.

Hmm. All I can say is maybe. I'm not sure how much different language could get beyond, you know, the means of communication changing. It's like we can, I don't know, it's like I, I have recent thoughts on why, I guess some philosophers find the concept of color so fascinating and, you know, Qualiga and all of that. It's like, well, you know, you can't really apprehend, or rather, you can't really describe color because it is a thing used to describe things. At least that's my rough thoughts on it right now. It's a mode of communication.

You can use colors to communicate many, many different things. You could even probably make a legitimate language out of it if you just, you know, string together into combinations with colors and have them mean specific things and create the associations within people's minds. it's like yeah of course those are you know linguistic elements you could say but yeah um beyond that i'm not sure how how much more language could really change because you you still need you know the basic you need basic elements in order to uh have the thing to communicate and then you need a grammar or syntax and then you need to like well convey it in some way and uh have a a medium to convey it

I mean, you can't really speak with colors, of course, but you can use screens and just, I don't know, about flashing colors front of people's faces to communicate. But even still, yeah, I think you get what I mean. Totally. I totally do. It's, it just seems like it's so mind-blowing to me because on some level, language is like our greatest gift, but so many times I find myself talking past someone or not really thoroughly understanding what they say. And you start thinking about so much arguments in life, whether it's with your loved one or it's a war or something like that. It's just a it's like this misunderstanding on some level. Like we're not really communicating.

And I'm hopeful, at least in my mind, that that's what the large language models are teaching us. It's like really how to communicate meaning. And when I see short videos like yours or some of the work you're doing, it gives me hope because I see real meaning in there. And even though you and I or some of my friends could watch your video and we may not get the exact same. message, I think we get a very similar feeling. I think that that is where the language is really evolving. It's like, oh shit, we're interpreting this maybe through our own filter, but we're feeling the same thing.

Like that's unique to your work, man. I'm mind-blown by. Thank you. That's, well, I'm glad my work actually achieved that. I mean, speaking of that, I mean, you did clarify what you may have meant when you were talking about language there. It's like, yeah. So the, well, LLMs, they would be.

be able to, you know, they're very good at generalization. And people are more inclined to like, you know, take in general bits of information. And I do find that people are becoming, you know, more well informed about a variety of different topics. And that's just going to continue happening as LLMs become more sophisticated and more integrated in our lives. And it's like, well, if people just, you know, are informed and have a broad enough understanding of things, whatever, it's like whatever someone means, they'll probably be able to get it into because of all of the other connections that they've made in their mind already or because of the ones that were formed while they're doing all of their I guess unconscious research. But yeah, it's

that is an interesting way forward. It's like technology could make it so that communication is more well adapted. It's like you can take any given sentence and it would just be well adapted to any other sentence that someone says or be able to be interpreted in It's like this. There are, it's like previously there are only a few ways to interpret a sentence. Now there are dozens of way to interpret a sentence or have a different, that many ways of interpreting a sentence and have it also be correct at the same time. It's an interesting sort of a smoothing of a communication that naturally happens, it seems, as we progress forward in time. Yeah. Yeah, I agree. I got a first question coming in here. This one comes from, this one comes from our friend Clint Kiles. And he says, what's the foundation of your creative universe? Is it a single idea, a feeling, or something more ineffable?

Hmm, that's a good question. I did consider that. Let's see. Take your time, man. Single idea, single idea. Ineffable? Hmm. I think if it, okay, it probably is a singular idea.

ineffability comes much, much later for me. It's definitely, I'm kind of detached from my feelings too. That's probably not it. But yes, it's more of a core idea. And I suppose that idea is something of an imperative to try and get to the bottom of things that is likely at the heart of everything I'm trying to do, a kind of motion moving toward something.

And this idea of motion does kind of lend itself toward, well, it's more recently in recently developed iterations of the idea. Motion takes a more central role in how all of my things are constructed now. There's nothing to show for it at the moment, at least not really. At best, things are only alluded to. But in due time, yes, I'll likely have a new project to show. that motion is the heart of things. And I guess that would be the core concept or the core idea. Yeah, motion.

I love it. When you speak of motion, is it a pushing feel? Is it something pushing you or is it something pulling you? Hmm. I would say neither, actually. It's like the idea of DeLuze's difference, or at least I'm borrowing from it. It's just, I imagine like a color shifting from. from one shade to the next.

It's kind of like that. That's the kind of motion that I tend to imagine, gradation, transition from one thing to another. Yeah. It doesn't necessarily have to be pushing or pulling, though. But it's like, depending on where you are standing in that gradation, it could be one of the other.

Yeah. Love it. I love that description of that. It has the feeling of multiple things being true at once. You know, for me, it's like, I remember not too long ago, I took this giant dose, mushrooms. I remember sitting like and just seeing all these directions of my life. Like I could be

this person. I could be that person. I could be this person. I could be that person. And like they were all I could simultaneously live them and see them at the same time. Like it's such a it's such an incredible aspect and change in ratio and change in perception. And I feel like so much good art comes from these abilities of people to see and live in not only the eternal now, but like the eternal yesterday, the eternal tomorrow. What are your thoughts on that? Is that too crazy? No, I don't think it's crazy at all. Yeah, a lot of great art comes from being able to either synthesize a bunch of,

in a convergent sense, synthesize a bunch of perspectives into one image or to take an image and divert it without it becoming completely, without you being able to, yeah, I guess it's like you take the viewer with all of these different perspectives, you showcase all of them and then guide them through to a common point anyway. It's like you're taking them on a journey versus concluding a journey, I suppose you could say. Yeah. Like it concluded the journey for many people, I suppose at the same time. When we're talking about journeys, I always, is it, here's an interesting question. When I hear the word journey, I always think of the hero's journey. And you think about so many stories that were told based on that. I think of Joseph Campbell and some of the

incredible myths that he told. What is your take on mythology? Has mythology influenced you? We've spoken about some of your influences as far as mystics and thinkers and philosophers, but what about mythology? Hmm. I would say yes, but it was likely unconscious because I'm not much of a myth reader. I don't like reading fiction or engaging with it all that much. So, yeah, it definitely has. It's influenced just about everybody, I would say.

Yeah. Well, how come you don't like reading fiction? Well, let me see. I know that after completing desire and metaphor, I just kind of fell out of fiction. It just didn't do anything for me after a while. I mean, and even before then, it was like, I don't know. I guess I never really engaged with it much as a kid, and I never really developed the fascination toward it. At least, you know, as a kid, even now it's like, you know, I watched cartoons and all of that.

What were those myths? There were definitely stories, and they have influenced. to me. It's just, I don't know. I can't say with certainty. I don't know if anybody could say with certainty. The people that do say with certainty, watch out for those guys. They don't know what they're talking about. Who do you think is your audience, Brandon? Do you have a certain audience in mind when you make films? Or is it just like, I'm going to make this and let this message go out to the people that find it? Um, I, yeah, I never. really had an audience in mind for the first two large progress that I've done, which is desire

and metaphor. It was definitely not for anyone else. It was definitely for me. Afterwards, it became more about other people. I started thinking about, okay, how can I do this more deliberately to try and get this to who needs this? And it's a little bit trickier, but I think I'm starting to come to who is probably looking for it. And yeah, they would indeed be other seekers, people that are more than likely. The ones that I found to be the most interested or the most affected by my works

would be the ones that were that are maybe currently around my age. Like at the time when I made it, I was about 21 through, I mean, metaphor was believed it when I was 24. So that sort of range, 21 through 24. Those are the ones that are usually trying to, you know, grasp their identity.

because they're now just thrust it into the world and they don't know what's going on anymore. Those are the ones that tend to be most affected by my work, even though I don't necessarily target them all that much. They tend to just kind of fall into it, it seems. I've not made much effort in marketing my stuff all that well. But, or at least not the old stuff. But, yeah, that's usually the target, I suppose, or the people that, the demographic that tends to like my stuff the most. Or the, funnily enough, yeah, other PhDs or people that have completed their studies, they also take a strong liking to my work. Like, I cannot say as to why.

It's likely because there's just a lot seemingly in there. I don't know. But, you know. There is a lot in there. Like, it's, again, for people within the sound of my voice, go down to the show notes, go down to his channel and check out the videos. They're amazing. And there's so much in there. And they're contagious.

Like, I think you've found a way to carry. capture contagion, which is pretty remarkable thing to do. Have you ever thought about that? I have not. Whenever I think of contagion in regards to like creations, I usually think of memes. And it's like, well, you know, I guess memes don't have to necessarily be all about comedic things. It's like, yeah, if something catches on and it's like really hard to get out, that actually

is an innately very viral thing, I suppose. Yeah. And I suppose my works do have that kind of quality. and I do kind of want that sort of thing for my works too. I try to ensure that they are not easily forgettable. And how I choose to do that kind of varies by medium. Yeah, that's for sure. Yeah.

Yeah, I know it's it brings up this idea of like, when I think about contagion and I think about language and imagery, I think that they're alive. I feel like once you create something, you give it life and then it finds its way into the world to the same way water flows. It starts moving through the zeitgeist. It starts moving through the minds of others and it's maybe filtered in a different way or changes shape in a different way. But I really get that vibe when I look at your work and some other really cool artists that I look at.

Is language alive to you? What are your thoughts on that? Yeah, I very much do believe language is alive. It's actually something of an idea that I am constantly reminded of whenever I feel the need to return to metaphor. It's the idea that what like any sort of movement that you make is going to be rippling to the world forever. It's never really going to just terminate or end. It's like yeah, it'll merge and blend into the environment. It'll like meld into the walls and then the walls will also reverberate upwards as well.

It's like yeah, all that happens, but you know, the output never really changes. The like whatever you were to say, because, you know, it's another byproduct of motion or expression into the world. it's it's never really going to just terminate or end. It's like, yes, locality is also a rather important thing here, but eventually it's going to reach the outer limits of our solar system and onwards. It's never really going to just stop. It's, or rather, it'll be synthesized with a whole bunch of other things that are likely happening at the exact same time.

And sure enough, events will probably transpire in ways you never really consider that they would. Or at least, it's so long as you're paying attention, I suppose. But yeah. Yeah, it's beautiful. It's well said. Do you feel that way like you've spoken some of your influence, whether it's Liechtenstein or Young or all these incredible, you know, people that you have read or listened to or studied? It's almost like the artwork, their language, their ideas. Like you said, they don't ever die and they're there for everybody.

If you're willing to kind of do the work, they're willing to inspire you if you're willing to sit down with them on some level. Like, it's so beautiful to me to think of. like, here's all these masters, man. Like, look what they did. And they'll talk to you right now and they'll show you and they'll try to tell you. And it is, like, that's a beautiful way to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, to, do you feel the same way or what are your thoughts on that? Yeah.

It's, I mean, it's kind of, I'm, I'm always constantly reminded of just how strange. I mean, even just words are. It's, uh, they, I mean, I mean, I mean, you just said it yourself really that the, these words and stuff, they they just last. It's like the concept of reverberation and it just, it never ends. Like, you open a book, there they are. They're just, I don't know. It's, I mean, borderline ineffable.

It's just, I mean, I guess what makes something ineffable is just how much it, like, how much stuff is there to explain, really. And, yeah, words are definitely that. There's a lot that goes on with words. Hard to get it down into a succinct and compact way. Yes. I love it. I love it. Okay, here we got.

We got Desiree coming in from Palm Desert, and she says, if your art was a portal, where would it lead? What kind of beings or civilizations would exist on the other side? I, the main purpose of my work, at least I attempt for this to be the case, is to ensure that I'm trying to recreate this world so that people can grasp what it is that they are looking at when they are in reality in itself, in our shared. reality here. So if I were to make, if my, you know, works were a portal, they would just leave exactly here again. I am not one to imagine any other kind of universe because I don't like those 10, those other kinds of universes. There's always something wrong with them and that kind of bothers me. But yeah, that's, I guess that's kind of why I never really was into myth, or at least one reason. It's like there's always something off about them. I don't know,

but yeah. It's true. There is something off. about it. What about dimensions? Does dimensions hold the same sort of negative connotation as alternative universes? Yeah, to me, I never really like the idea of multiple dimensions. It's a little strange. It's like, I tend to see a dimension as like a mathematical dimension. I was like, yeah, that's just another axis of motion. It's like how it's like, okay, 40, okay, that could be time, maybe if you really want it to be. But five, I was like, okay, that's another time dimension. So Anything after three is just time. Okay.

Seems redundant, but sure. I can see the practical uses of it, but yeah, it's like, why would you go beyond five at that point, though? It's like, yeah, I don't know. Anyway, I'd agree. It's beautiful, man. I love learning about the way you think and the way, what goes into the artwork.

Yeah. It's, we got one more coming in here. This one is from Dennis. Dennis says, do you think art has the power to create real ontological shifts? Can it change the way people see reality itself? Can art create ontological shifts? Hmm.

Somewhat. I do think that people have an innate pattern as to how they would see the world and that would likely not change that much, unless they were to completely reconfigure their, neural chemistry by, you know, taking substances or doing really deep meditation or other creative avenues like indeed creating artwork. But even still, I do think that, you know, a basic foundation will always be there. It's like art will likely reinforce what's already there, but I can't really see it changing it that much unless, again, you completely reconfigure the nervous

system in a way. Can art do that? Maybe, maybe a little. little. I'm not sure, because, you know, everything that is taken in will naturally affect the nervous system and all of that. But yeah, I would say that. There can be some change, but it will not make fundamental change. And I find that to be a very important thing anyway, because, you know, I wouldn't want to change someone's core foundation all that much. I just want to enhance it, because that in itself is a very powerful thing to have an enhanced foundation. That means you're living to you closer to your truer self i suppose yeah yeah it's sort of a whenever i think about changing the foundation i think of maybe that's not the right way to say it but i always think of

uncovering something not like you found something but like you uncovered it like it was always there like look at that i took that off and now i feel much better i don't even need to hold that shame or guilt anymore like look at just put that down well's my mom's anyway i don't like that you know you started thinking about all these ways in which artwork can help you uncover these things about yourself, man. It's nuts. Yes, exactly. Let's dive a little bit more into the internet. Yeah, I think so too. What? Let's dive into this. I got another question here that comes up. The intersection of art and philosophy. Your work seems to exist at the intersection of philosophy and art. Do you think art is philosophy in visual form or do they serve different masters?

Hmm Art Philosophy in visual form Hmm Do they serve different masters I think they serve the same master Um Yeah they serve the same master

Art is philosophy in visible form That is Possible sometimes Though you know with philosophy it's um you're trying to communicate well something some sort of uh well i guess that's i don't know i mean a common notion is that philosophy is art and that's um you know i am you can say that anything is art really if it's any kind of expression it's a kind of art um yeah i i think my brain is like sliding away from the question is kind of like melding it

into itself over and over. I don't know. I think the answer would be yes. That would be my succinct answer. It's interesting. I know some other art. I know some really cool artists and myself sometimes, and I'm curious if you ever have this problem.

Sometimes I'll make something that I really like. And I'm like, that looks spectacular. But then I look at it again. I'm like, it's empty. It's a beautiful picture, but there's no meaning in it. Do you ever have, like, issues, like trying to infuse meaning into an image that's already beautiful. Does it have to be my work, or is it someone?

No, I can just art in general or like wherever you want to take it. Hmm. Okay. Meaning, meaning, or at least interpreting things to have something. Yeah, so when something means something to you, it's usually some sort of correlate feeling that you have about the artwork. Or at least that's my thoughts on meaning at the moment. with that, I tend to find difficulty in finding meaning in other people's work.

I mean, granted, I, you know, unless I'm prompted to find meaning, I will probably not really see it unless it's like, unless the work is beautiful enough or at least aligns with the visual patterns I like the most. or at least I should say fits my taste and preferences I'm probably not going to be able to puzzle out what it what it is about or have much of an interest in doing so but it's like if something is beautiful and it fits my taste and preferences and all of that then it'll have an immediate effect and it would mean something to me

for what that would be I would be puzzling it out for naturally probably years but yeah that's that's that's um the end of that I suppose yeah I guess I don't have much trouble in finding in meaning in those kinds of works yeah yeah no it's a it's an awesome question and it's a beautiful answer I think about I was revisiting someone like like I'm a big fan of the murals like I was just looking back at like Diego Rivera's murals you know and it's it tells these stories on some level and I'm I've always admired like the the connection between art and rebellion on some level. What are your thoughts on art and rebellion, movements and that aspect of it?

Hmm. Arts and rebellion. That is something that I haven't looked too deeply into, at least not yet. I think my philosophical thoughts were like on the cusp of political movements, since, you know, it's a philosophy of emotion and all of that, and I found that interesting. I didn't, you know, go into that territory because I didn't think I was quite ready for that yet. But, um, It's, I don't think I have, I can offer too many comments on it at the moment. So, yeah, I suppose to leave the question there. I don't really have much to say about it. Yeah.

Okay, here we go. What do we got here? We got Neil coming in. He says, you've built a living, breathing map of worldviews and aesthetics. If someone steps into this map, how do they navigate? Is it structured like a language, a dream, or a ritual? I... My aspiration is for it to be a language,

but I think it is more like a dream. They would be able to navigate it by their own natural preferences and taste. Whatever strikes them most immediately is usually the thing, or at least from what I've noticed, that's usually the thing that they will align with the most or be the thing that best describes who they are and then they'll just be orbiting around in that particular realm and you know because i i do think that each individual realm is latent within everybody's i guess psyche they will uh probably look a little bit here and there into the other ones but not feel as strongly compelled but maybe it you know because it for example if we have like three sections here and they will uh probably look a little bit here and they will uh pick one section that is their most preferred, then, you know, that that is innately a kind of gradient that, but between all three of them that will kind of give them a basic blueprint of how they tend to be. It's like, for example, at least in this older version, or the older versions

of these ideas, it's like someone would pick, I guess, the red sort of category. And, you know, they would secondarily pick the yellow category and then just kind of go, blue, blue seems kind of lame and stupid. That's the basic gradient. And that would be a basic pattern of who they are. So they kind of just get invested or involved and participating within this sort of world, much like how a world is supposed to be, or at least how the world around us, the show world around us tends to be.

You kind of participate in it. And as you interact with it, you end up learning more about it as well as yourself. And that's what I want all of my worlds to characterize. They say art imitates life. Do you feel that like these particular videos and the short ones that I checked out, did those imitate your life? Hmm. I would say they imitate my cognitive patterns.

Not necessarily my life. Because desire definitely, or at least how it's structured, is very much a map of my own preferences. And other people participating within that world are just kind of contrasting themselves within my set of preferences, or at least how my cognition seems to be mapped out in a Jungian sense. Yeah. And then doing so they can create their own sort of map of their own world

if they feel so inclined. Yeah. So we talked about desire a little bit, but can you give us a background on some of the other films and just lay it out there like, well, let's talk out, let's go one by one. What were the other two? What were they about?

And what did you get out of them? What do you hope other people get out of them? So I think the other film that I made was a forma. And I guess that was just a set of presentations. That came after Metaforma. And I primarily wanted to focus on the psychological typification system that I primarily wanted to talk about in Metaforma, but I was too enmeshed in wanting to understand how everything else works. But a forma is kind of a reflection of what I really wanted to talk about in Metaforma.

And I am unsure if I can really give too much more information about it. It's just, yeah, me laying out the system as to how I think it should operate. You know, just me basically just updating how things were laid out before. nowadays I can barely remember it and I don't really subscribe to it anymore. So that's about the extent of what I can really say about it. But I also try to in a format, try to link together the, well, the basic patterns of motion that nature seems to have and how people's preferences tend to line up with those particular areas in nature. And I don't know.

I suppose that's the extent of it. That happened to metforma as well. But no, this one was supposed to be a little bit more digestible for people as opposed to the madness that is the book. Yeah. Did you feel different? Like if some people prefer writing, some people prefer producing films, like what were some of the things you liked about each of them and maybe you disliked about each of them. Yeah, desire.

If I were to, okay, so the things I liked, I mean, the fact that it was so powerful and people can feel how I was probably feeling when I made it because, you know, that was a kind of process that it made me cry like a number of times while I was making it. And I guess people felt that even though it was like. Yeah, that's one thing I liked about it. It was emotionally deep, and it still gets me today whenever I do feel the, whenever I have the courage to return to it. But it's the things I dislike, the fact that it was just a little too verbose,

and maybe after the six-minute mark, it kind of takes a bit of a dip in his comprehensibility, and then spikes back up toward the end. That kind of has always bugged me about it, but that's just kind of how it goes. But then again, like, there's a specific part in the middle where the comprehensibility it kind of reaches kind of an apex. It's like it's familiar. You can understand it. But at the same time, you also are mystified by it.

I kind of like that. That happens at the midway point. And I think that was a good balance that spontaneously happened. Moving to Metaforma, I think that the main thing, okay, well, I should start with likes, should you start with likes? But I think I like the structure of it. I really like the structure of it. It's probably the most comprehensive thing I've made to date and likely will remain so.

I guess there is something to be said about difficult works because once you get through it, you feel good that you got through it. And if you were to return to it, it would become increasingly familiar. and that's something that people have reported from reading my from reading that particular work you know again if they felt if they if they had the courage and patience to get through all of it but yeah that is one thing i like about it the fact that it is rather difficult um and technical in its own sort of way what i don't like about it is is that exact same thing it's also very technical and it takes a long time to get through and it kind of it kind of consumes you view like whenever when i was um editing the book uh i can only edit like a few pages at a time because of how how much it was it was just overwhelming but um yeah that's um it just kind of it kind of consumed you in in its own sort of way and i think that's a good thing and a bad thing um yeah uh and from what else is published i think a forma is another thing it's um

Kind of just an in-between. I don't have much to like or dislike about it. It was just me doing with corrections. But yeah, that's, those are the major projects to date. But, yeah. I love it. I love learning that and getting to hear the artist's view of the likes and the dislikes and the complications and the technicality.

You know, in desire, like you scored it unbelievably. Like the music behind the scenes. Like, I cried too. I was like, whoa. And like I felt like it was synesthesia. I could like see the music when it was going on. Like how can you tell me or try your best to explain the relationship between the scoring and the video and the process you used to do that? Hmm.

So I think the process was that I would try and, well, okay, so I did all the writing first. The writing all came from a, well, I did a write-up of desire first. It was a very intricate and laid-out sort of, I don't know how to describe it. I guess you can call it a wiki of all of the written information of desire and how all the dynamics work and all of that. That came first. And then when I got around to starting to want to do the video, I was like, okay, so I'll just take out some of the text here.

I'll try and fit it to be something that can be narrated. So I did a bunch of editing for the writing. And then I believe I recorded all of the writing. Yeah, I narrated all of the writing. And then I tried to find music that would fit what I was narrating. And then that's when I started looking for imagery to try and compile on top of all of the audio stuff. So all of the audio came first. Then the visual stuff came second.

And I did throw a few of my illustrations in there too. And that I suppose came before all of the recording. So I was kind of just assembling all the pieces of all the visual stuff after I handle all of the audio. Yep. Did you go to school to learn how to do all this stuff? Is it something you kind of just learned on your own? Was it a relationship of both of them? more. Like, is it just trial and air? How does that work? Yeah, I mean, I guess learning is,

trial and error is a part of learning, but it's, yeah, it's, most of these particular skills were self-learned. I did go to school for a year and a half, or at least college for a year and a half, an art school, though, didn't have the money, couldn't continue, but I just kept doing my own thing anyway and um yeah i just sort of um i just i just got better at uh at these at these talents here i mean let me see what i i picked up video editing when i was maybe well 11 i suppose and um i just it's a skill that i that i just kind of held on to i i suppose i just needed to use it um yeah and then drawing i've been apparently doing it since I was two or three according to my mom so that that's a thing there.

Audio, I don't have much skill with audio. At least I don't really think I do. I didn't really practice it. I just sort of, I know what I'm looking for. I can kind of, it's almost like being able to envision actual images in my mind, but I do it with audio too in a way. That's, yeah. Yeah. Music has certain moods, and I'm just kind of looking for those moods. That's all. Yeah, it's, I'm amazed at the way in which you dressed it with so much style. Like it's, it has all the elements. You know, and I think that that comes usually from someone who's self-taught.

You know, that comes from having the eye of it. You know, I'm not taking anything away from the people that have gone to school and crushed it. And I know tons of people have done that. But it seems to me, I find myself having the affinity for the person that found a way to translate their vision into reality without having someone tell them it's wrong. Without someone having that, that angle is too great. You didn't use the right tool there. There's a certain sort of raw emotion that comes from someone who figured out a way to do it. It's like taking the road less traveled.

It's beautiful, man. Thank you. Yeah. It's, yeah, in many ways I do agree. If you go through schooling and stuff, I mean, you become hyper-specialized a lot of the time. And, you know, it doesn't stop people from, like, doing their own personal study, too, of course, if they have the time to do that sort of thing. And I think that's the main restriction there, time. Yeah, that's about all I can really say about that, because I don't know, I guess I was just afforded a lot of time to learn an array of schools. skills and just get decent enough at them to combine them to be impactful. Yeah. Yeah. Sometimes I feel like the role of, I feel like I feel like we're all artists. I feel like each individual, if they sat down for a moment and they really started trying to figure out what it is they're passionate about. They could begin walking the footsteps of creation on that path.

And I want to inspire more people to do that. And I think watching your film is a huge inspiration for me and everybody listening. Like I, again, like I, the schools are awesome. But on some level, I feel like they almost, they almost design the creativity out of people. Like here is a set of people we're going to study. And like, you know, if you just study those people, you're not really, you're not really studying the person you want to study. You're not really digging for the philosopher that gives you meaning. And I want to encourage people, like whether you go into school or whether you got a computer or you have a sketchpad, sit down and do it.

Just create this thing you think is beautiful. And watch out for the critic in your mind, man. Tone that guy down or tone that girl down and just crank up the mania one. Right? Is that too crazy? What do you think, man? I would say crank up, Beau. Yeah.

Okay. All right. Why are we cranking them both up? It's like, okay. When it comes to the inner critic, that's definitely something that can stop somebody from making things and from putting things out there. It happens to me all the time. The thing is, it's also, it has its good side to it too, especially if you want something to be really, really good. You need that critic to be there.

You need to ramp it all the way up. It's like, you ramp it up and then you turn it down so you can actually publish the thing. It's going to bomb. to you forever. And yeah, it's like, I guess my inner critic does lend itself toward my philosophical thoughts. I don't know what to do when it comes of publishing them. And I think Metaforma was me just kind of throwing it out there and not really thinking about it.

But now it's like, okay, now I want to be more deliberate. I want to be careful about these things because I know how impactful these things are with people. And I don't want to put, if I put on the wrong message, it'll cause it. a bit of a problem, I think. But yes, it's about being very, very careful about what you put out there at that point. But that is the extent of my inner critic at the moment. I think I have a decent hold on it primarily criticizing the technical skill of things.

I tend to not be too worried about it now. But, of course, when you're beginning, that's going to be like the introductory stage for what it means to have an inner critic, I suppose. once you bypass that and have enough people telling you that your work is good, maybe that's not, of course, probably not enough. Maybe you need to just continue working through it and continue publishing things to become okay with publishing it. Then it's like, yeah, that's, that becomes the end of it, I suppose. Yeah. Yeah, it's well said.

Recently read Rick Rubin's new book, and there's some real cool quotes in there. And one of them is, if the project has, has three mistakes in it, it might not be ready. But if it has six mistakes in it, it might be. You know, if it has like nine mistakes, then it's probably ready. Like you just looked at it so long. You're like, oh, this thing, I got changed that thing. Yeah, it's like you'll, if the moment you, I mean, you're in your critiquing mode for your

own, for your own pieces. And it's like, the things that you can pinpoint are usually the things that do need to be fixed. But, you know, the moment you publish something and then you notice that there are like a billion mistakes. It's like, yeah, that means it was definitely right. That's when you were confident in that moment that it was actually okay. And that's when it went out. Of course, it's like, yeah, with a keener eye, you'll be able to pinpoint the things that you missed. But yeah, that's about how it goes, especially for me. Yes. You just need that moment of confidence.

And then you're good to go. Yeah. You know, duration seems to be a thing too. Like if you spend a lot a time on a project and you look at it every day and you live it and you breathe it pretty soon that that feeling that was brought up whether it's inspiration or shock or whatever it was in the beginning or that attraction to it it becomes callous a little bit I don't even know if that works anymore you ever have that problem when you're in it for so long it's like you just have to trust that that feeling you had in the beginning was right what does that make sense hmm hmm I feel like I have something of a parallel to it, though. It's like, I suppose, I mean, I suppose I'm still in the thick of it with, like, because all of these, all of these world iterations are just, again, iterations of each other.

Yeah, I don't know. I guess I'm not quite out of it yet to really comment on it, but that might be how it is for me at the moment. Yeah. All right, we're going to have a question coming in here. This one's coming from Betsy, from Oceanside. She says, if you had to describe the core grammar of your artistic language, what would it be? Are there recurring symbols, archetypes, or hidden rules? Are there going to be hidden rules?

Hmm. So I did say that motion was one. That hasn't really left. Other ones. let me see desire to run through the structure in my head again real quick or at least try to let me see this i think with with desire i think the the core elements haven't really left they've just shifted around and priority a lot of the time another archetype that has not left is how these categories tend to relate to the states of matter or the alchemical classical elements.

Those are things that haven't left either. And only more recently I've began embracing that again. And it's like, okay, yeah, I'll just have gas and go leading into the fluid and then leading into the solid and all of that. It's like, yeah, I think the one thing that I was missing throughout the entire development of this so far has been not being able to easily. transmute between the elements and after realizing that like a month ago has been pretty good. But yeah, it's, yeah, I think those are the core things that haven't really gone away

beyond, you know, just needing to connect it to the human being and to the universe simultaneously. That also hasn't gone away, but I suppose that's more of a more of a goal as opposed to an archetype or a rule or a pattern. Yeah, that's about it. Just that they connect to the apparently observable elements of nature in different ways. Yeah. Yeah, nature is, I feel like nature is its own language. Sometimes you can go outside and just sit under a tree and watch how the little ecosystem underneath is like, look at these ants taking this cockroach apart over.

But it's this whole language, I think, that's like happening. right in front of you. What's your relationship with nature and how has it inspired you? Nature, inspiration. Yeah, just the way things move. That is to me the language and the core grammar of how things are. I mean, it's reached a point, I mean, after Metaforma, I can say that when I, when I finished it, just like, I'd just be whenever I would need to cook dinner, I'd just be watching the steam, like, just do its swirly motions. I just stand there for minutes at a time. And any time I'm just kind of idling around and I'm just kind of observing something moving,

I will just stare at it for as long as my attention holds. Just very intently, it's like, wow, look at that thing go, huh? That is quite something that it's even happening at all. That is miraculous right there. even like even ants moving around and like picking apart a carculture yeah that there's a there's a whole logic to that too

and it's not it's not just within the motions that they appear to me at the moment it's like the motions are happening within the ants too and that has a whole cyclicity to it and it's yeah it's it's a wondrous thing to even just consider all of those those different layers just coordinating together

to produce a coherent image no less that is that is quite something. It is. It's just poetry in motion. You stand back. They're all in this line. Where are they going?

They're going over there. They have things to do. Yeah. They got their things to do, man. That's hilarious. Brennan, what is, what is your personal philosophy for life? Like, do you have one that, like, that you live by, or are there some? When I say your philosophy of life, like, what do you think?

That, to me, makes me think of a kind of maximum of some kind. And I don't know. I don't know if I have one beyond things move and that there's sort of innate nature to how things are supposed to move, maybe. Or, I don't know. For me, I'm not sure. I'm just kind of when it comes to, I guess, personal philosophies or maxims like that,

I would desire to have like one simple rule that that can be repeated and it's just that, I don't know, things happen. I think that's kind of the core of it. Things happen. But, you know, taking that and branching it out further, it's like

you can elucidate all of the different ways that things happen and adhering to all of the different ways based on where you fit in that sort of schema. That is yeah, that that is in its way of poetic and it can give you a I suppose a decent way of figuring out well one where you fit in the world and what you're supposed to do in it I mean I suppose that is um specific to

everybody um I don't know I feel like I'm drifting away from the question however um I don't think I it's hard for me to really ascribe it that's what I will say um things happen yeah what what about what does tragedy fit into things happen? Tragedy. Yeah, that is, well, in a way, I mean, well, when I, I guess I can say this when it comes to things, tragedy is definitely a thing. I see any given thing as a kind of, well, to maybe roll back by my philosophy like a few weeks ago, maybe a month ago.

It's like, yeah, a thing is technically a verb. because it's made up of a bunch of different events. Tragedy is made up of a bunch of different events, and those events can affect people in certain ways that make them feel as though something as a tragedy, and indeed that means so that they are indeed true and real. Those are real things. All of these events are very real.

And, you know, depending on how the given event that is tragedy affects somebody, they will be compelled to do something or not do something, depending on what they, on the, depending on the other events that make them up too. It's like some people will probably look at and not bad an eye and other ones would feel very compelled to do something about it. The tragedy is very personal thing.

It's, yeah, I guess when I started moving into, going back into maybe getting my philosophy out there again, my first point of contention, or at least to try and get myself going, was to try and pinpoint the things I dislike about modern spirituality, or at least things in that sort of sphere. And it's like, well, a lot of it tends to just kind of ignore that problems are real things that people have an attachment to. It's like, yes, you could, I don't know, meditate for however many hours and not have anything to do with those circumstances, but you can't do that for everything

because that is to, in a way, defy or at least deny your own humanity. you have to care about things in order to do things. You need to care in order to move. If you don't care, you will naturally not move. And that tends to overlap with depression and things like that. So why don't you make yourself really simulate depression within yourself? It's kind of strange. I don't know.

Maybe I'll have to think about it more. But, yeah. I love it. I love weaving the idea of motion into tragedy and events, man. It's well done. Thank you for that. I think it's a cool perspective. and that's awesome.

Let me see what else we got here. Who we have over here. This one is coming from Nick. He says, do you see artistic creation as a form of cosmology, a way to map the universe itself? Do I see what as a form of cosmology? Could you repeat that section? Yeah.

Do you see artistic creation as a form of cosmology? Hmm. I, my immediate response is no. It's the thing that makes the cosmology. But seeing artistic creation as cosmology, that is interesting taking a function and turning it into a cosmology itself. That is an interesting thing. I'll have to think more about that. But my immediate response is no.

It is the thing that makes it primarily. All right. Awesome. Nick. Thanks for the question. If you could collaborate with any thinker, artist, or philosopher, living or dead, who would it be and what would you create together? Hmm.

When it comes to questions of collaboration, I tend to blank out. Like, I'm not much of a collaborator. However, to honor the spirit of the question, let me see. Who would I? Hmm. I think it would be interesting. to work with Alfred Whitehead or Ludwig, if it can shine, even the early,

even if he's a bit dumb, I don't know what the word would be to describe him. However, I think we would make really interesting. So either one of those two, yes, or maybe Leibniz. Maybe. Although, yeah, I don't know what we would actually make. Leibniz was more of an inventor, and I'm not. not one for an

invention or rather inventing but Whitehead Whitehead Hardly makes some interesting things I don't know what that would actually be probably some sort of a

philosophy since the current ideas that I have about events and the like seem to overlap with his ideas from the cursory glance I've taken at it so who knows maybe he would be able to formalize things a little bit

to be more readily applicable to physics. That'll be cool, maybe. Yeah, I think if I were to collaborate with anyone who would try to, I would try and weave the concepts into modern physics, or at least to try and make something that would be usable for scientists. That'll be cool, I think.

Yeah. Sometimes I wonder, like, I spend a lot of time in the psychedelic community, and there seems to be, like, there's these two sort of like it almost seems like a helical model between like science and spirituality. I'm curious. Like what do you think is a relationship between science and spirituality? Are the same two sides of the same coin or what are your

thought? There is the idea that that tends to float around a little bit that that science is innately spiritual and I could see that or at least because it's grounded upon myths and the like it's uh yeah it is fascinating i think i think they are one in the same spirituality and science they both have a methodology to them um science nowadays is primarily fixated upon falsification and the like um it may be a little bit of deduction too but that's um that's something that they are um the falsification the need for empiricism or empirical evidence and the like and falsifying truths and the like it's like i don't know the spirituality

as a method have have that does it need that i don't i don't think it does in that way that they would differ and i think um if if both are treated as a way to understand nature in some way with spirituality being about understanding the nature of one's feeling landscape or their their array of meanings that compose them and science as a natural phenomena as they appear to us, then, yeah, in those ways they would probably be different. The ends of the methodology perhaps would be different, but they have a common starting point, I would say, the desire to understand something about nature, because naturally feelings and meanings are all part of nature too.

Yeah. Yeah, that's well said. Sometimes I feel like they're both prophecy. Like they're both trying to predict the future based on like a miracle or something. Just give me one miracle and then I'll tell you what I'll happen. It's crazy. I don't know. I'm so excited about like the future.

You know, I'm excited about my life now, even though the motion of tragedy is happening in my life. Like when I look to see the artwork that's being produced, and I see the tools that are available for creators, and I see this creator economy kind of blossoming in a way that may not have been accessible to everybody previously. What's your take on the creator economy and all these tools that are becoming available for people? The creator economy.

That is an economy that I am a part of. You are. I am. Yeah. I was inspired to hop into it. Man, like last, yeah, November of 2023 or September of 2023, that's when I started to get into it, or at least more intentionally, more deliberately. I started on Twitter, and I tried to make it so that the art that I was doing was clearly

able to affect people in certain ways. I was like, yeah, let me see if I can turn this into something. It'll allow me to keep doing it. And I do have more things that I want to make. So let's try and see where that goes. Went through Twitter, got my first few clients there, and that was like a magical experience in itself. I didn't think that was ever going to happen.

But then moved over to LinkedIn, and I'm just doing the same thing I did on Twitter, but it's way better. And LinkedIn's more suited towards it. But that's, yeah, you have. have to kind of get into it. You have to know what it is. Well, one, you have to know what you want. You have to know what other people want. You have to see where those things intersect so that when you do go into helping people or, you know, creating content and things like that. It's, it'll land right. And they, you know, you'll have more people that would be, one, interested in the things that you have to say. And two, you'll be able to help out the people that would be best fitted for you to help. Um, yeah, tools. I mean, there are,

there are plenty of tools out there. Um, I don't know. There's a lot of directions you can go in the creative economy since I've been in it for a while now, but yeah. Yeah. It's, it does.

It seems like it's the deeper you go, the bigger it gets. You know, we start going in there. Look at this. Look at that. What, what kind of clients are you helping or what, what, I mean, I'm, I'm sure you could help out tons of people in varieties of ways, but what are some of the projects you've been

working on for other people are helping them out with? Yeah, so when I hop into LinkedIn, I was just trying to radically find what space I best fit into. I joined like a couple of groups that thought that was a half decent thing to do. I joined like a Jungian group of some kind, a whole lot of psychological groups or psychology-related groups, wellness groups. And I was like, okay, this doesn't seem like the best way to grow. So I'm going to try and directly connect with people that are kind of that have these things in their, in their, I guess they're about section or whatever, their tagline or headline. And I was like, okay, so psychedelics, it would make sense. People that are into psychedelics, probably they've either taken

them or they just simply work with people that are with them. And, you know, based on prior clients that I've had on Twitter, it's like, yeah, okay, so they have appreciation of consciousness. They like talking about the universe and nature and all of these big question stuff. So who are the people that talk about such things well through the people that are working with psychedelics primarily. And there are probably a whole bunch of other people there, but they're harder to pinpoint. They're like just individuals. They're not really, you know, under one banner, really. But, yeah, so I primarily work with the people in psychedelic space,

and I create artwork for them, provided that they like this sort of bleak, black and white sort of style of app going on at the moment. some of them have starting to have been wanting color here and there and that's a good opportunity to try and that rather has been a good opportunity for me to try and figure out how I can weave color into this granular style which is cool but yes to answer the question primarily psychedelics people in the psychedelic space and I have been just creating imagery for them sometimes it's just wall out for their office other times I mean, right now I'm working on an Oracle deck for an ethics center of source for psychedelics.

And that has been a magical product in itself, naturally, due to the nature of Oracle decks. But yeah, it's really cool. Yeah, absolutely. What do they ever be like, all right, Brandon, we need you to come down to this retreat. Before you do any artwork, I want you to drink these five cups of ayahuasca. It's a prerequisite. I don't think I would accept that job. I take a kind of egoic pride and not consuming substances personally for my own work.

It's like I want to be able to reach these planes, these different vistas on my own, well, on my own. Because, you know, ideas kind of just take hold of you and you don't have much control over that. But even still, not like without any sort of aid in all of that, without opening the floodgates, if you will. I want to try and keep it focused, constrained and narrow. Because it's something I have noticed with a psychedelic artist. It's like, once they've taken psychedelic, the imagery that they see on their journeys will just completely saturate everything else that they make thereafter. And it's, I don't necessarily think I want my artwork to look like that. it's interesting you said that the way ideas can grab a hold of you like is that how you see it

like are you tap like when you when you when you nurture an idea is that idea something that was maybe whispered on the ether or was it something you listened for or was it something that you channeled that you just you saw like how how do the ideas grab a hold of you uh for me it's kind of rather immediate i i cannot say that it takes the form of a of a voice or any kind of identity like other people would probably say that it does for them those instances i find very interesting um in my own imagination i can imagine how such things could can transpire of course but for me it's not like that and i always find it interesting that is that the being possessed by ideas is different for different people um it's

it's it's just that for me um whenever i have have an idea, I'm compelled to immediately just start just getting it down on paper, at least whenever the idea is strong enough or developed enough or has been fed enough, I'll be able to put it out into the world so that it may indeed to pull it back, to go back to like a prior part of the discussion for it to finally live. And that is likely what I'm being used for ideas for them to be given life in their own sort of way, because apparently they they might need some of that. They might need to be alive for whatever reason.

Yeah. And this is me just, you know, adding an identity to them. Whenever they happen to me, they don't really have an identity. It's just like I'm just in it and I'm just, I'm narrowed in, fixated, focused, perhaps somewhat obsessed over the, over just how to get this thing to manifest. Yeah. No, it's a great description of it. Do you feel that like the ideas that get translated into reality,

mirror a large percentage of how they were when you saw them in your mind's eye. You know what I mean? You know what I mean by that? Like sometimes when you create something, it's not exactly like it was in your mind. I don't know if something gets lost in translation or it gets added in translation, but what's your take on that process? Yeah. It's, so the things that I make now tend to more or less map pretty well to how the,

to how I'm imagining them. when I was a bit younger, it annoyed me that they didn't quite align properly. It's like this something, like it was very much a skill issue in that sense. But, you know, as you keep working through it, you get better and you become able to meet, to meet the inner image and the outward image of sorts. It becomes easier to do. As for, sometimes,

if you go off of the image or deviate away from the image, it does make interesting things happen. Those are, I would say, deeper. It's like that has almost nothing to do with the idea, I would say. It's more like instinct taking over in those instances. And those are always interesting occurrences. Some people are more in tune to that than I am. That's for sure, though, because that has to do more with feeling and the like. Again, as I said, in the past, I'm not, I'm kind of detached from my feelings.

But yeah, it's always interesting whenever it does happen. It is interesting. It's always, it's just such a, I guess all chemical is the best way to describe it. Like you're transmuting this idea into something real. It's so satisfying. And I love it when you get to talk to someone who does it and you can, you can see the moment. Like, you can see him do it. And it's just intriguing to me.

like the whole alchemical process of that. Do you think that's the right word to use, alchemical? Yeah, yeah. Yeah, alchemical is transmuting one thing into the, into a different state. Yes. Or I guess a different thing or matter in that sense. But yes. Totally.

What about what do you got coming up, Brandon? I mean, obviously you've got some clients that you're working with. Some you can talk about some you can't talk about. But are there some current projects you have coming up that you're excited about? Hmm. Let me see. Well, I don't know exactly where my philosophy is going. It is taking naturally a life of its own.

I've concluded that I have to get into like mathematics or something in order for it to continue. And that's been something I've been putting off for a long time. It's like, I just kind of B.A don't have to touch mathematics, man. I really don't want to. But no, it seems like I kind of have to. As for when that will happen, it'll likely happen after I plot out or maybe release this game idea that I've been hashing out for years at this point

and it's only just about last year that I've started putting at least some of the scripting and coding together. I had to take a break from it because I needed to make some more money, of course.

But I'll be back into it eventually sometime this year, no doubt. But yeah, game, beyond game. And philosophy slash math, not, not much at the moment. I suppose I've also taken it upon myself to start a substack because maybe I'll do something with that in the future. I think that's where I'm more than likely going to be hatching out some of the more usable or digestible ideas

regarding my philosophy of things. But that's on hiatus until I stop thinking about the updates to the philosophy. But yeah, I guess those are the three things. Game, philosophy slash math, and substack. Those are the things that are constantly bouncing around on my head at the current moment. Yes. be able to be yeah that's awesome man i i happen to think that the the film eyes on was was mesmerizing i hope everybody within the sound of my voice they not only go check out the

film but they subscribe to you i hope they reach out to you i hope that they other podcasters i know a few of them they'll probably want to talk to you and this is really awesome i'm stoked on the work you're doing brand i think it's really cool and i think it like it like it made me cry in some parts And that's real artwork right there. And so congratulations on that. And as we're landing the plane here, man, I just wanted to give you a few more moments to where can people find you? Or is there anything particular coming up that you want to point people towards?

Or what do you think? Well, I'm not particularly active on social media beyond LinkedIn. I don't know if people want to be following me on LinkedIn or anything like that. But given, you know, I don't know, people hardly have a bad relationship with LinkedIn. because it's all corporate and business stuff, but it's like, no, it doesn't have to be if you don't want it to be. Like many of the social media, it's about how you use it primarily. But you can find me there. I don't really post all that much, but I'm definitely active on it.

Twitter, I have a Twitter account. It's, oh, I guess I should probably state what the links are, actually. So LinkedIn, Brandon Singletary, B-R-A-N-D-E-N, Twitter, nexumorphic, N-E-X-U-M-O-R-P-H-I-C. That's the moniker that I use for everything. If you look up next to more, but you'll be able to find whatever I've posted on whatever website. That's all you have to look up because I don't have a centralized website, at least not yet, or at least I did.

But paying for it became a bit of a hassle, so I'm not doing that anymore. It's way cleaner to not do that. But, yeah, type that in. You'll be able to find all the things that I've made, minus the stuff that I've deleted. but yep that's it that's awesome well hang on briefly afterwards brenness I want to talk to you for a moment but to everybody is in the sound of my voice go down to the show notes check out the links reach out to Brandon definitely check out the his works I think you'll find the mesmerizing

I know I did and that's all we got for today ladies and gentlemen have a beautiful day aloha