Color of Sound
Color of Sound10800 x 10800 pixels (36x36 print)
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The prime objective of Color of Sound was to explore the boundary between music and the visual arts and to create works based on the color palettes. I had already devised several palettes, some of them inspired by the interpretations of composers such as Scriabin and Schoenberg, as well as the spatial representations of painters such as Kandinsky.
One of the challenges of relating color to pitch is that both are highly subjective, and rely largely on metaphor, memory, and mnemonic devices.
This music theory chart uses the metaphor of temperature (a range of blues for the sharp keys on the circle of fifths as "cool") and orange "warm" for the flat keys on the circle of fourths. It is an attempt to codify sound using this simple metaphor, but it is probably not what is experienced by synesthetics.
Charles Lucy, a musician in England has explored this at length vis-a-vis his alternate tuning, 'The Lucy Tuning'. Here is his color palette.
#2008 #metaphors
The prime objective of Color of Sound was to explore the boundary between music and the visual arts and to create works based on the color palettes. I had already devised several palettes, some of them inspired by the interpretations of composers such as Scriabin and Schoenberg, as well as the spatial representations of painters such as Kandinsky.
One of the challenges of relating color to pitch is that both are highly subjective, and rely largely on metaphor, memory, and mnemonic devices.
This music theory chart uses the metaphor of temperature (a range of blues for the sharp keys on the circle of fifths as "cool") and orange "warm" for the flat keys on the circle of fourths. It is an attempt to codify sound using this simple metaphor, but it is probably not what is experienced by synesthetics.
Charles Lucy, a musician in England has explored this at length vis-a-vis his alternate tuning, 'The Lucy Tuning'. Here is his color palette.
#2008 #metaphors
