Synesthesia in art
From The Art and Popular Culture Encyclopedia
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- The first known experiment to test correspondences between sound and color was conducted by the Milanese artist Giuseppe Arcimboldo at the end of the sixteenth century. He consulted with a musician at the court of Rudolph II in Prague to create a new experiment that sought to show the colors that accompany music. He decided to place different colored strips of painted paper on the gravicembalo, a keyboard instrument (Gage, 1994).
The phrase synesthesia in art has historically referred to a wide variety of artistic experiments in order to synthesize different art disciplines (i.e. music and painting) as can be observed in the genres of visual music, abstract film, computer animation, symbolist poetry, multimedia and intermedial art (Campen 2007, 1999, Berman 1999, Maur 1999, Gage 1994, 1999). The usage of the term in the arts should, however, be differentiated from “genuine” synesthesia in scientific research. By no means unique to artists or musicians, synesthesia has been identified by psychologists as a specific condition that occurs when an individual who receives a stimulus in one sense modality simultaneously experiences a sensation in another. Only in the last decades scientific methods have become available to assess synesthesia in persons. For synesthesia in artists before that time one has to interpret (auto)biographical information. For instance, there has been debate on the “genuine” synesthesia of historical artists like Kandinsky and Scriabin if they were genuine or pseudo synesthetes (cf. Jewanski & Sidler 2006, Ione 2004, Dann 1999, Galeyev 2001). In general, it has shown to be extremely difficult to categorize artists as synesthetes without scientific criteria or assessment.
Additionally, Synesthetic art may refer to either art created by synesthetes or art created to convey the synesthetic experience. It is an attempt to understand the relation between the experiences of congenital congenital – or “genuine” - synesthetes, the experiences of non-synesthetes, and an appreciation of such art by both synesthetes and non-synesthetes.
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Color organs
Inspired by Newton’s theory of music-color correspondences, the French Jesuit Louis-Bertrand Castel designed a color harpsichord (clavecin oculaire) with colored strips of paper which rose above the cover of the harpsichord whenever a particular key was hit (Campen 2007, Franssen 1991). Renowned masters like Telemann and Rameau were actively engaged in the development of a clavecins oculaire. The invention of the gas light in the nineteenth century created new technical possibilities for the color organ. In England between 1869 and 1873, the inventor Frederick Kastner developed an organ that he named a Pyrophone. The British inventor Alexander Rimington, a professor in fine arts in London, documented the phrase ‘Colour-Organ’ for the first time in a patent application in 1893. Inspired by Newton’s idea that music and color are both grounded in vibrations, he divided the color spectrum into intervals analogous to musical octaves and attributed colors to notes. The same notes in a higher octave produced the same color tone but then in a lighter value (Peacock 1988). Around the turn of the century, concerts with light and musical instruments were given quite regularly. As most technical problems had been conquered, the psychological questions concerning the effects of these performances came to the fore. The Russian composer Alexander Scriabin was particularly interested in the psychological effects on the audience when they experienced sound and color simultaneously. His theory was that when the correct color was perceived with the correct sound, ‘a powerful psychological resonator for the listener’ would be created. His most famous synesthetic work, which is still performed today, is Prometheus, Poem of Fire. On the score of Prometheus, he wrote next to the instruments separate parts for the tastiere per luce, the color organ (Campen 2007, Galeyev 2001, Gleich 1963).
Musical paintings
In the second half the nineteenth century, a tradition of musical paintings began to appear that influenced symbolist painters (Campen 2007, Van Uitert 1978). In the first decades of the twentieth century, a German artist group called The Blue Rider (Der blaue Reiter) executed synesthetic experiments that involved a composite group of painters, composers, dancers and theater producers. The aims of the group were focused on three goals: the unification of the arts by means of Total Works of Art (Gesamtkunstwerke) (Von Maur 2001, Hahl-Koch 1985, Ione 2004). Kandinsky's theory of synesthesia, as formulated in booklet On the Spiritual in Art (1910), helped to shape the ground for these experiments. He described synesthesia as a phenomenon of transposition of experience from one sense modality to another, as in unisonous musical tones (Kandinsky 1910, Düchting 1996). Kandinsky was not the only artist at this time with an interest in synesthetic perception. A study of the art at the turn of the century reveals in the work of almost every progressive or avant-garde artist an interest in the correspondences of music and visual art. Modern artists experimented with multi-sensory perception like the simultaneous perception of movement in music and film (Von Maur 2001, Heyrman 2003).
Visual music
Starting in the late 1950s, electronic music and electronic visual art have co-existed in the same digital medium (Campen 2007, Collopy 2000, Jewanski & Sidler 2006, Moritz 2003). Since that time, the interaction of these fields of art has increased tremendously. Nowadays, students of art and music have digital software at their disposal that uses both musical and visual imagery. Given the capability of the Internet to publish and share digital productions, this has led to an enormous avalanche of synesthesia-inspired art on the Internet (Campen 2007) (cf. website RhythmicLight.com on the history of visual music). For instance, Stephen Malinowski and Lisa Turetsky from Berkeley, California wrote a software program, entitled the Music Animation Machine that translates and shows music pieces in colored measures.
Synesthetic artists
With today’s knowledge and testing apparatus, it can be determined with more certainty if contemporary artists are synesthetic. By interviewing these artists, one gets some insights into the process of painting music (cf. Steen, Smilack, Salz). The lines of artistic explorations of synesthesia and scientific research into the subject have become closely intertwined in the last decade. Some contemporary artists are active members of synesthesia associations in the United States, United Kingdom, Germany, Italy, Spain, Belgium and other countries (cf. Arte Citta [1]. In and outside these associations that house scientists and artists, the exchange of ideas and collaborations between artists and scientist has grown rapidly in the last decades (cf. the Leonardo online bibliography Synesthesia in Art and Science) [2]. And this is only a small selection of synesthetic work in the arts. New artistic projects on synesthesia are appearing every year. These painters, sculptors, designers and musicians have shown to be well-informed on the latest scientific insights in synesthesia. They combine this scientific knowledge and personal intuition in a range of artistic expressions. For instance they capture their synesthetic perceptions in painting, photographs, textile work, and sculptures. Beside these ‘classical’ materials of making art, an even larger production of synesthesia-inspired works is noticed in the field of digital art (Campen 2007).
