Tag Archives: Keith Foster

Response to Keith Foster’s Influence of the Subconscious

I woke up this morning (says Captain Obvious) and found a great read by musician, writer, and friend of The 45 Brains: Keith Foster. In his article he hits upon some interesting ideas that I wanted to comment on. But my comment quickly grew too long and I decided to make it a full-fledged article of my own.

Definitely check out Keith’s “Influence of the Subconscious” article.

(1) The contribution of the subconscious to creativity:

Really, this is what feels like the subconscious because it’s not formally intended. I might be playing semantics here but, for this response, it’s important to know what Keith means by the subconscious.

Keith uses “dreams” as an entry point into subconscious thinking. His clear example is of artist Rick Veitch who created a dream journal in comic book format. The entries become more vivid over time as Veitch becomes better at capturing his dreams, and therefore his subconscious thoughts. I think Keith is suggesting that subconscious thoughts are unintended connections made without conscious effort. And yet, Keith and I both think that this form of thinking is a trainable skill. How can you become better at thinking subconsciously? And more importantly, how are creative people inspired? For me, the answer can be summed up by artist Chuck Close:

“Inspiration is for amateurs; the rest of us just show up and get to work”. 

That is, inspiration does not come out of thin air. Creative people are immersed in their craft. A connection that comes naturally to them seems inspired to the rest of us. What are creative people other than those who can connect nodes in ways that others have not? For example, that is the basic premise behind sampling 2 seconds of a jazz record to create something entirely new.

(2) The subconscious can be wrong, or misleading!

But that’s ok, it is part of the creative process to err. Sometimes connections are made that are just lifted from sources we were exposed to long ago and forgotten. I think that too, is ok; it is not stealing, because it is unintended (lawyers, help me out here). The problem is this: what counts as original? The Bible argues that there is “nothing original under the sun” and (I think) an old sufi tradition says that the only original action we execute is death — that no one can teach us how to die. This sounds extreme! But what examples out there suggest otherwise?

In Keith’s article, he relates a story in which he was possessed by a catchy riff, that he thought was completely his own, only to be corrected by his girlfriend’s children. His personal example is one of a creative person coming to terms with these old ideas, that there is nothing original under the sun. But just so, he takes it in stride. He subconsciously created a “funky cover version of a pop song”, a creative act in itself. The pains of his realization date back to olden times as well, as Shakespeare put it:

If there be nothing new, but that which is 
Hath been before, how are our brains beguiled,
Which, labouring for invention, bear amiss
The second burden of a former child. 

The problem is catching the “former child” before it hits press, or at least being lucky enough to have your girlfriend’s children around to help you out.

(3) Does dream-sleep count as subconscious thinking?

I’m not entirely convinced that it should. I feel perfectly aware in my dreams and would count myself as conscious, although the creation of the dream-world itself seems to happen without my control. Is it conscious processing that is easily forgotten when we awake? Is it consolidation of the previous day’s efforts? Is it completely out of our “conscious” control?  I don’t think we know enough about the brain, or dreams, or sleep, to really say what’s going on here, but we can philosophize, and tell stories.

Anecdotally: two years ago I was working on a science proposal. It’s a big process where I have to spend months scouring the literature and designing key experiments to address a question in neuroscience. It culminates in three professors grilling me about my proposal. Well, I was near the end of the process, right before the defense. The package was polished and I had numerous people revise it so there were no major holes in it and that it read well. Or so I thought.

Because I was constantly thinking about this proposal, I began having what I, at the time, called “science dreams”. Experiments would come up in dream conversations I had with myself or people in my lab. And one time, in one of these conversations, I discovered a major hole in my proposal! In the dream I started panicking because the deadline for defending was soon, but then something crazy happened. In that very same dream, I came up with the perfect experiment to address the issue. When I woke up, I ran to my computer and started typing away. The entire proposal didn’t change much, but there was that key paragraph stuffed in at the last minute.

Sometimes your clearest thinking happens while your dreaming. But does that make it subconscious?

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Kodoja with Keith Foster

I need to point your gaze to a man by the name of Keith Foster.
I got news that Skeme Richards, Lance Pilgrim, and the Hot Peas and Butta crew were collaborating with Keith on a Big Monster project called “Kodoja: Terror Mountain Showdown“. Keith kicked off Kodoja as a multisensorial comic book-driven storyline accompanied by a break-pressed musical score. I was very excited by this project, mostly because I loved the idea of a music-backed comic book. I’m always searching for creative people and new projects to absorb, and Kodoja was something I had to get into. So I went to Philly and met up with the crew.
I first met Keith (writer) and Rory Smith (artist) at their Kodoja booth at Philly’s Comic Con, along with Skeme. I bought their first issue of the comic book along with the Kodoja 45 and a poster. This first package got me hooked. And today, I met up with Keith, who was visiting SF for the weekend, to reconnect. We hung out at Rooky Ricardo’s and played some cards before heading down to Bi-Rite with my friend Liz to get some delicious ice cream. We talked music, big monsters, and upcoming creative projects. I’ll keep hush on these but I will say that 2013 is definitely a year to keep tabs on Keith Foster, his band “Big Pimp Jones”, and the Hot Peas and Butta crew.
I asked Keith to write a piece on the Kodoja project (read below); it is always revealing to hear what a creator has to say about his own work and I’m thankful that he made time to oblige. It’s definitely worth a read.

Keith Foster at Rooky Ricardo’s

[Some Words On Kodoja by Keith Foster]
While the comic, music and art surrounding Kodoja just hit the shelves a few months ago, I feel it’s been a long time in the making and just needed something right for the pieces to come together. In terms of concept, the band I’m a part of (Big Pimp Jones) has been making funky music for the last 20 years; of recent we released a fake Blaxploitation soundtrack in 2009 (Bad Bad Jimmy Ruckus) and its sequel in 2010 (Jimmy Ruckus and the Five Fingers of Death). To accompany the music we worked with a plot to the two ‘movies’, some lines of dialogue and backstory. When I was younger I did some acting and wrote a screenplay, experience which came in handy for the Jimmy Ruckus records due to their cinematic nature.

At the same time I’ve been a comics fan since I was about 15. I remember the exact comic that hooked me – Secret Wars #4, the cover of which has the Hulk holding up an ENTIRE MOUNTAIN so it wouldn’t crush him and the other heroes. From that moment on comics were for me, and I don’t just mean the content and the stories.  Comics as a *medium* fascinated me, not only for the traits similar to other media (they look like art, read like a book and play out like a movie) but for the traits that are more uniquely “comics”.  So much action in a comic book story happens in-between the panels as you continue the story in your mind; you can create a passage of time and pacing to a story that is much more difficult with other art forms; and so many more. And, your budget is zero yet unlimited; your only constraint is imagination!  Can you imagine how expensive and time-consuming it would be, special-effects wise, to have the Hulk hold up a mountain in a film?

Giant monsters have been there the whole time. Saturday afternoons in front of the TV as a kid watching Godzilla turned into countless hours spent as an adult watching and re-watching those films, soaking in the giant monster destruction. Yet, as great as the movies were visually, it was the music that really drew me in. So ominous, so powerful, and in some cases – so hip-hop. Pharaohe Monch tapped into that with “Simon Says” and the hip-hop influence weaves in and out of Godzilla scores whenever they get just the right BPM and hang out in 4/4 time for a while.

It’s the intersection of Godzilla scores, hip-hop beats and funk that created the basis of “Terror Mountain Showdown”. It took no time for us to go from one song to fifteen! And once we completed the music, we figured we’d just do what we did with the Jimmy Ruckus records – give the record the whole ‘lost soundtrack’ vibe, create a few lines of dialogue and imagine it as a Godzilla soundtrack that never saw the light of day until now.

Except that’s not what happened this time.  Some research and a few random events led us to an idea – what if we created our own character? What if it was a giant monster? What if I wrote a story around it?  And what if we told it in comic book format?  The answers to all those questions led to Kodoja and then the comics, records and art out there now – courtesy of Hot Peas and Butta, Elroy Jenkins, Rory Smith, Skeme Richards, Record Breakin Music (Junior) and Big Pimp Jones. It took a while to happen, but man we’re sure glad things came together the way they did! And the best part (at least to me): we’ve got a whole lot more story, comics and music that needs to be told as part of Kodoja.
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