A few months ago,

based on the life and work 

of the genius street art artist  Shephard Fairey,

one of the ideas that catch me the most 

was the presence in his perspective of 

phenomenology for his expansive work and,

the immediate recognition 

by public personalities of his transcendental  imaginary, 

phenomenology is a means of discovering

unnoticed aspects of the world,

the inquiry of phenomena uncovers

the wealth and complexity of human experience

and provokes the sense of wonder, 

it is an evolving practice, not a finished system.

What really opened my curiosity 

was to investigate the relationships 

between the object and the process

that allows the appearance 

of the object in consciousness.

Shephard Fairey first work in 1989 

was the sticker on a featured 

bare-bones black-and-white lithograph 

of the legendary professional 

wrestler Andre the Giant.

The directive and source would be unknown, 

urging passersby to "Obey!" 

in a totalitarian message of conformity.

Soon the Obey graphic will be 

in the all country and worldwide pockets 

as a pop-art phenomenon of the counterculture,  

who would later achieve acclaim 

with his WPA -inspired “Progress”

poster for Barack Obama's 2008 campaign.

The OBEY campaign attempts 

to stimulate curiosity and bring people 

to question both the campaign and,

their relationship with their surroundings,

people do not use to seeing advertisements 

or propaganda for which the motive is not obvious.

The OBEY mission, 

underground yet in-your-face, 

has been perpetuated by other street artists

such as Bansky.

The art of the unexpected

reinforces the benefit of simulations 

Phenomenology studies structures 

of consciousness as experienced

in the world from the first-person point of view, 

consciousness is not separated from the body,

and the body is involved in all conscious functions:  

“ Our body is in the world as the heart is in the organism, 

it is primarily our body that is moved by 

rhythm and that resonates with harmony” 

- Merleau-Ponty.

Each person/ body has

its cultural and intersubjective differences, 

what instantly create a different perspective
on the way things are comprehended. 

In the same way as phenomenology in marketing

is an intuitive and organic tool 

to permeate in the public while making choices.

Music transcends  on the subconscious

s but as an element of cultural exchange, 

how do we react to music is based on

our personal background, 

ideas, feelings, imagination and,

interaction with the elements

present in the dance floor,

music should not be understood as an entity without 

a reciprocal element on the environment.

What image should define dance? 

or better said the act of creativity

result of music and inputs 

such us inspirational paints, colors, 

smells and tastes; 

what image will bring the observer 

to immediately connect 

with the pineal gland and send the stimulus

of dancing as a tool for delayering

what is blocking 

at that certain moment our visions, 

to move through our body identifying 

what part of our magnetic field should be release

and tuned with the rest.

What imagine would deconstruct the moment

of an empty space.

to bring the meaning of creation with music?.

If we could tap into that image

every time we get lost in sadness 

and see no point on the intentions

we one day made to our selves.