I Hear A Symphony – By @mjclacroix
By Matthew La Croix
I Hear A Symphony
Chapter 1: Overture. “I do not regard advertising as entertainment or an art form, but as a medium of information.”
So begins David Ogilvy’s symphonic opening of his eponymous On Advertising. Our lateral and discursive creative strategies are not visually dissimilar from the exactitude of musical writing.
Every creative person has a code he or she abides to. Since we arrived at SCA, creativity has been broken down not as a rarefied thing but as something being liberated by strategy, game-play and lucid planning. The minutiae of recording our creative thoughts on SCAMPS, all sketchy and discursive, to a Martian trying to decode this language it must be incomprehensible as these experimental musical scores.
We’re scamping ideas through pattern, systems, and temporal dramas. Our scamps are almost holographic in that really they operate as a live intersection of colliding idea making. But the more we follow a certain set of rules and techniques, the more our unique scamps take on a composition and tempo of their own.
Are we not in playful child state when we’re making marks writ to only one reader, ourselves? Looking at these experimental musical scores we’re probably looking at the notations and calligraphy of our own thought patterns. Is there one that seems to fit your lateral thinking?
What’s the Logical Conclusion ?
John Cage strategises incremental number systems to produce [non]sound performances
Throwing them out there, bit like Matisse cutting up shapes and seeing where they land. These scores are being totally delineated. Wasn’t this how Uri was urging us to rethink these linear problem solving equations writ by mechanical engineers to a cyclical pattern?
Beat Up the Enemy
Wallace Stegall taking no prisoners. Who needs lines and scores, these musical scamps are the equivalent to our distilled messages with pure image and no strapline. Ouch.
What’s the illogical conclusion?
This is quite beautiful. As with all artists, creatives and copywriters, one has to follow the thick and thin of their unique trail of divergent thoughts and coded manuscript to read their mind. All this needs is a key to unlock. Poor Patrick, Sarah, & Dominic.
Are these anything but knowledge, problem, divergent thinking, and collaboration?
We sketched a 1000 scamps out to converge ideas in all directions with the same immediacy, accuracy, mess, specificity, chaos, ballet, as these musical scores, to remind us that at the end of it these thoughts need attributing to an order where they somehow stick with an audience in extremis. And a reminder that every symphony that we write we code in idiosyncratic ways in medium and message so that our audience, ECDs, Clients, and one hopes the end user, recognises implicitly the message we’re spelling out explicitly.