Huh. So, let's talk about creativity, value, and the sense of art. I think, as Mr. J, that the value—or whatever value is—is different from the cost. And art is directly linked to the emotional dimension. So, the emotional dimension is how much we can resonate. It doesn't matter at what angle, or through which arista or bias we resonate, as long as it makes us resonate.

Which means that the identity managed to be put into the medium—let's call the medium paper, digital, whatever—is crucial. The more complex the medium, the more complex the emotion. The harder the medium, the more frames (for example, the more planes), the harder it is to convey. The sound helps, for example. Sound is a direct conveyor of emotions. That's why visuals are not as strong.

What do I mean when I say that the sound is stronger emotionally than the visuals? It doesn't make sense. Well, it does, I think. It's really easy to prove: if you have a cut of a movie, you see it once, and it's one of the most emotional cuts you have seen. And if you change the music to polka, it starts not to convey the emotion properly.

So you can see that the sound can override visual emotion. You can even change the sound and the meaning will be changed fully. For example, there's one that is famous—the fight between Jet Li and Texas Walker. In that fight, the music is super intense. And if you put sexy music, like really, really sexy music, you will get a really gay scene.

So it's really fun how these emotional foreplays have a visual identity. And we use sound to identify it creatively. So you can see the link to the emotions, right?

But what about the value? What gives that value and why is creativity important? Creativity is important because creativity is the capacity to link between two different points—not using a linear interpolation. What does that mean? A creative solution is the solution that reaches the point, the objective, not in a straight line.

Why? Because visually, the straight line is the easiest. But we can understand, for example, that sound doesn't reach us in a straight line. And if it bounces back, it creates some distortion. The idea is that emotionally, to actually convey a proper emotion, we need to recurse the movement. We need to recurse for a solution that requires the friction of the bounce to get to the place or to create an actual fluid motion that will make us reach the endpoint without collisions.

Hence, for example, the movements you do in Tai Chi—it's more like the behavior of water. And now you can see the two calculations of creativity that are really interesting. If we see creativity as interpolation between the point and the particle—so we're seeing the particle and then creativity as the line that connects the two particles—right? That center point is where we find the zone.

The zone is the moment we connect our physical beings with our emotions properly. And it doesn't really matter if you create something with it or for yourself. And even if you don't create, meditation is the moment you find the spirit. Charisma is that oblivion moment in meditation where you can reach the ecstasy, as they call it.

This is what we find in the zone. You can see it in the movie Soul—the moment when he's playing and he finds this beautiful moment and everyone is like, "This is amazing!" In real life, if that happens—if a jazz player goes manic emotionally and does this—everyone will hate him.

Why? Because even in jazz, which is one of the forms closest to emotion technically and logically, it's the map of sounds over the creative movements of emotions trying to convey a message via notes between a group of three or four people, with a boom, boom, boom of the bass, right? Even there, this will be badly seen because emotions are just for yourself.

The true moment of the self, when you reach the zone and try to interpret it, is the moment when you find the solution between yourself. And it's not just the solution where you're finding—you're also finding your own moment. That's what creativity is, right? That's where the value is important.

It's not how much you give for what someone wants; it's how much you give because of what you want to do and be. You have to be in two places: your goal and where you are. So, the two points of the particle—the vector, the two points connected by the line.

But to reach it creatively, you don't go in a straight line—you flow around it. So you reach it with the momentum you require, with the beauty of your approach. It's like an amazing goal: you can have a three-second goal, a nine-second goal (I think it's the fastest). They open up fast, shoot, goal—yeah, I reached the goal.

But it doesn't have the same flavor as a 94-minute goal with a turnstile. It doesn't matter; you can create amazing momentum and build it up all the way to end it in the moment—like a 94th-minute goal in the corner—where the explosion of energy is insane compared to that first burst.

Why? Because we are linked emotionally to preserve the moment. And the more momentum you gather, the bigger the impact over time. And that's what gives you value. The more people give it value, the more imprint it will have—and the more remembrance will happen to that specific moment in time.

What happens with art is that this moment in time gets preserved—in a single moment, in a single space—when we give it value, like a print or a signature, or if it's something the artist made with their own hands over hours and hours.

That spell, that emotional recurrence that creates art with the moment of itself—that's when you're reaching your own goal because of your own passion. And you attune at the speed you really want to reach it, so you get it in that sweet spot—the moment you like it and then you do it. And you do it because of you, for yourself.

That's the moment you create art—because art is that part that resonates with your vibration of momentum. That's the reason you exist and are yourself. And the moment you understand that, and manage to believe it, that's when you understand that you exist and you're a beautiful thing, just traveling in the fabric of space-time.

And everyone can create. You just have to be crazy enough to believe that you need to communicate something to yourself. It's really easy if you say, "Well, if it's not being done, just do it yourself." It's not just that—you have to do it inside first.

How? Well, true belief in your story, your time, your imprint, your point of view. What was the music that played when you had your first birthday memory? What was the laugh sound? Can you remember the note of the first time someone hit you? Can you remember the emotion in that note? Can you convert the moment when something amazing happened into a note—a B flat or an F? A glorious moment.

Churches do it beautifully. That's art, pure art. It doesn't matter the cost—or it does matter, because that creates an imprint on time too.

So, this is unbiased creation beyond the imprint of value. And that, for Mr. J, is the essence of my manifesto.