Dirty Light - Marko Ciciliani

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sum of all spectral colours as white light. 27 At the same time as prism experiments were conducted new researches were done in the field of acoustics. Comparisons between light and sound can be found more often in this period. In the 16 th and 17 th century the Camera Obscura and the Laterna Magica were (re-)invented and became very popular. Through them the play of colours and visual effects came into fashion. If rays of light fall through a small hole into a dark space, on the opposite wall an upside-down projection of the object is formed, from which that light is reflected. 28 A Laterna Magica is similar to today’s slide projectors. Small images painted on glass were projected by lamps with a bundeled ray of light. The Laterna Magica was an attraction at amusement parks. There are no analytical researches in the field of pitch-colour correlations, although theories that make analogies between colours and intervals (Gioseffo Zarlino (1517-1590) 29 ) or modes (Franchinus Gaffurius (1451-1522) 30 ) as opposed to single pitches, become more and more frequent. These analogies often included other aspects, like planetary movements or other human senses. These ideas still reach back to Greek Antiquity, mostly to Aristotle, and are often based on the symbolic number seven. From the middle of the 17 th century on, French theorists started to draw analogies between musical intervals and colours according to aesthetic judgements. Painting was supposed to give the same sense of harmony to the eye as music to the ear. Previous analogies at best resorted to aesthetic considerations as a secondary measure. 31 From the 17 th century on it became increasingly common to regard music as an art rather than a science. This put its ranking in the discourse of the sciences and universities into question. In order to re-establish its position as part of the artes liberales it was necessary to provide evidence of the antique idea that the human spirit adheres to the same numeric ratios as music. 1.1.6 Isaac Newton’s Optics Stated in its broadest terms, the theory of colour in the Western tradition, from Antiquity to the present, can be divided into two phases. Until the 17 th century the main emphasis was on the objective status of colour in the world, what its nature was, 27 Goethe, Johann Wolfgang: Farbenlehre (1810), Weimar: Deutsche Akademie der Naturforscher Leopoldia, Schriften zur Naturwissenschaft Vol.4 (1988), 240. 28 Hilmar Hoffmann & Walter Schobert (ed.): Perspektiven. Zur Geschichte der filmischen Wahrnehmung. Dauerausstellung 1: Vom Guckkasten zur Cinematographe Lumière, Frankfurt: Deutsches Fimmuseum (1986), 10, my translation. 29 Zarlino, Gioseffe: Le institutioni harmoniche, parte III, cap.8, Venice (1558), 155. 30 Gaffurius, Franchinus: De harmonia musicorum instrumentorum opus, Book 4, Chapter 5 (1500) 183f. 31 Jewanski, Jörg: Ist C = Rot, Berlin: Berliner Musik Studien Band 17 (1996), 219. 10
and how it could be organized into a coherent system of relationships. From the time of Newton, on the other hand, the emphasis has been increasingly subjective, concerned more with the understanding of colour as generated and articulated by the mechanisms of visions and perception. 32 In 1704 Isaac Newton published the book Optics in which he asserted that the different spectral colours obeyed the same numeric principles as the pitches of the octave. He used the (at the time already obsolete) dorian mode as a basis and assigned 7 colours to the seven intervals: red, orange, yellow, green, blue, indigo and violet. He found the same proportions between those colour intervals as between the pitches of the dorian mode, which he listed as: 1/1 : 8/9 : 5/6 : 2/3 : 3/5 : 9/16 : 1/2. 33 It has to be pointed out that Newton did not compare the actual colours with the intervals but colour areas within the otherwise continuous spectrum. These colour areas were demarcated with division lines. This choice of these division lines has later been much criticised since their positions seemed rather arbitrary. Although Newton represents the transition from alchemist sciences to natural sciences in the sense of Rationalism, he still carried over some ideas from symbolism and Greek antiquity. Why else would he have chosen to divide the spectrum in seven instead of in any other number of colours Apparently he thought that it was necessary to find a correspondence between the visual and acoustic domain. He was still searching for universal harmonies that underlie all natural phenomena, including the rotations of the planets. However, since Newton was a huge authority whom for a long time hardly anyone dared to criticise, his colour/interval scale formed the basis for many new colour-pitch theories that were yet to come. Fig. 1.1: Newton’s colour circle 32 Gage, John: Colour and Meaning, London: Thames and Hudson (1999), 43. 33 Newton, Isaac: Optics, Book 1, Part 2, Prop.3, Prob. 1, Exper. 7 (1704), 126. 11
Page 1 and 2: Dirty Light: the application of mus
Page 3 and 4: Dirty Light: the application of mus
Page 5 and 6: 1. Historical overview 1.1 History
Page 7 and 8: 1.1.2 Antiquity The Greek Antiquity
Page 9: (Robert Fludd, for example) believe
Page 13 and 14: • painters would be able to study
Page 15 and 16: abstract experimental film. However
Page 17 and 18: epresentation. As a consequence of
Page 19 and 20: 1.2 The History of Light Art The de
Page 21 and 22: was to lead to technical media, fro
Page 23 and 24: The Bauhaus artists staged colour m
Page 25 and 26: 2. Different views of synaesthesia
Page 27 and 28: from the wave-shapes of the accompa
Page 29 and 30: A possible explanation for the Ur-S
Page 31 and 32: Current studies have pinpointed are
Page 33 and 34: Similarly, words referring to anoth
Page 35 and 36: In this sense the differentiation b
Page 37 and 38: people. The French aristocrat Josep
Page 39 and 40: traditional boundaries of its genre
Page 41 and 42: through history. Especially the his
Page 43 and 44: that are passed on amongst musician
Page 45 and 46: while a common conceptual approach
Page 47 and 48: eye, which derives colour informati
Page 49 and 50: Temporal relationships between soni
Page 51 and 52: driving force in the development of
Page 53 and 54: too high or too low to be properly
Page 55 and 56: But also musical elements like the
Page 57 and 58: are presupposed to be different man
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light. Roughly, three sorts of temp
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Fig. 4.2: Most recent performance o
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The different handling of colours c
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In Alias, I was furthermore interes
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gatings are often arranged in perio
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turn into a stressful sensation whi
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Fig. 4.9: the set-up of Rational Ca
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Fig. 4.11: light changes from mm. 8
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pitched material, the timbre also c
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as man-eater and/or vampire, which
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illuminated by a LED bar that is pl
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possible to recognise any elements
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Potentially, the rhythmic motives f
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Fig. 4.20: photo from the premiere
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Reflections from wax water/vinegar
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Lowest note: c# e c# f# c# g# c# c#
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Similarly to the otherwise more sta
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Fig. 4.22: position of grand pianos
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of light, that also express the pas
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during the entire duration of this
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pulse sound is played through the 8
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synchronization are required. Furth
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of the way the light design actuall
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phenomenon and searches for its med
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It seems to me that the most radica
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It is impossible, … for a specula
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movement of the painted elements ca
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one of the main actors in her uniqu
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Seymour Locks (1919-1964) was an ar
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The House Parties were large gather
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6. Conclusion The various compositi
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that harmony can be experienced in
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Huddersfield/Great Britain. Duratio
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Cytowic, Richard E.: “Touching Ta
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N Naumann, Sandra: “Seeing Sound,
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Woronov, Mary in: O’Brian, Glenn:
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Dirty Light - Marko Ciciliani

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