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About the creativity of Alexander Lois

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"If you stare into the abyss for too long, the abyss starts staring back at you" ... About the creativity of Alexander Lois.

In the current era of postmodern and post-industrial society, there is an opinion that in the modern world, it is no longer possible to create high art works that are equal in artistic level to the masterpieces of Leonardo da Vinci, Michelangelo, Bach, Handel, K. Brullov, Vrubel, Pushkin, Dostoevsky, and others. However, even in our time, there are individual creators who dare to become "new classics," albeit in a very peculiar, avant-garde form that is in line with the spirit of the era. They do not prioritize creating popular works that are successful with the masses, but strive above all to express themselves, their own spirit and soul. They create true and sincere art, which is, of course, not for everyone but for the chosen ones, for aesthetes who can contemplate and feel deeply.

One of these creative personalities is musician, composer-experimenter, philosopher, researcher, artist, and esoteric Alexander Lois. This original master created an extraordinary musical direction in psychedelic electronic music - "quasi-technology".

Lois's compositional abilities manifested themselves in early childhood - at the age of five. The music of Johann Sebastian Bach became the true ideal for the young man. The musician began his creative path by creating works stylized as the art of the great composer. At first, he wrote for the piano, and later began composing for the synthesizer.

In 2005, Lois became seriously interested in electronics and began experimenting with it, listening to the philosophical music of Bach and Handel, which makes one ponder eternal problems of the universe, and carefully peering into the depths of his own personality and soul. He created a new unique style in avant-garde art - quasi-art and related directions: quasi-midi, cybernetic psychoset, and color music.

Quasi-technology is imaginary, non-existent, unreal, fictional, and fantastic music. First, the composer creates a melody, and then removes the melody sounds from the cluster chord (the sound of all sounds) and leaves the sounds of silence. Thus, in quasi-compositions, music is only guessed at.


Lois is a universal creator. In addition to music, he is also involved in visual arts (3D art, digital painting, computer games). The master creates abstract and figurative psychedelic compositions built on an expressive multicolored or black and white color palette and musicality of graphic drawing. They vividly illustrate the mood of his electronic compositions. Lois's painting and music are closely intertwined and perceived through each other's prism.

The composer is also passionate about cybernetics, studying neural networks and artificial intelligence, esotericism, and Kabbalah. The master's creativity should be viewed in a syncretic unity not only of music and painting but also of science and philosophy, technology and mysticism. It is ephemeral, elusive art. It's like music and at the same time its absence, sounds and silence, something of the integrity of the universe and its decay, unity and diversity, good and evil, struggle and calm, light and darkness. Listening to Lois's musical compositions and observing his paintings, one recalls Nietzsche's famous saying: "If you gaze long into an abyss, the abyss will gaze back into you"... Lois's psychedelic music sounds like a naked nerve. It carries a premonition of the Apocalypse: a picture of the world comes to life where there is no place for man, and only God or Darkness remains, perhaps even artificial intelligence reigns.


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