Dirty Light - Marko Ciciliani

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new Light Art can be sensed: the so-called “Absolute Film”. Theo van Doesburg (1883-1931) wrote in 1921 in an essay on abstract film: It could be insightful to compare abstract film with visual music, because roughly in the same way as with music, here the entire composition arises visibly within the open field of light. The analogies between film and music were taken even further. Film-maker Walter Ruttmann (1887-1941) created an acoustic film in 1930, a pure montage of sound-tracks, titled Weekend – ein Film ohne Bilder. Historically, this is the first soundscape composition. Oskar Fischinger (1900-1967), a pioneer in experimental film, also developed abstract films that were screened on several projectors at the same time. He was also trained as a musician and collaborated with musicians on various occasions (Alexander Laszlo in 1925-26 and John Cage in 1937). In 1955 he patented the Lumigraph, his version of a colour organ. However, it turned out to be more problematic to establish consistent relationships between the visual and aural domain: Like the abstract painters, the color musicians envied music’s power of expression and believed that they could take over the “existing scales, the entire system of tonality, the intervals, chords, and the harmonic structure of music.” Also like the painters, each color musician invented his own, often arbitrary, scheme for assigning colors and notes to one another and his own methods for translating musical structures into visible forms. Obviously, many had to admit that the physical properties of light and sound and their perception by eye and ear were too different to continue being regarded as corresponding. 64 Many of the above-mentioned problems concerning the correspondence between light and sound will be discussed in further detail later in this dissertation. 64 Selwood, Sara: “Color Music and Abstract Film”, in: Light Art from artificial Light, ZKM/Hatje Cantz (2005), 414. 24
2. Different views of synaesthesia 2.1 Introduction to synaesthesia The word synaesthesia comes from the Ancient Greek “syn”, meaning “with”, and “aisthesis”, meaning “sensation”. It describes a neurologically based phenomenon in which the stimulation of one sensory pathway leads involuntarily to experiences in a second sensory pathway. Synaesthesia conflicts with the classical doctrine, first articulated by Aristotle (De Anima, II, 6, 418a; III, I, 425a-b), that each of the five senses has its own discrete area of operation. It also conflicts with Johannes Peter Müller’s (1801-1858) more modern variation of this idea. Müller argued that sensation was dependent upon the internal character of the five senses, rather than on the nature of the external stimulus, so that the same stimulus acting on different nerves gives rise to different sensations. His comprehensive two volume large book on physiology Handbuch der Physiologie des Menschen (1837-40) placed this question into the centre of the psycho-physiological debate and had a long lasting influence on the general understanding of the subjective representation of the world. 1 Another, yet more recent variation of this idea is known amongst philosophers and cognitive scientists as Functionalism. Functionalism says that mental states are constituted by their causal relations to sensory inputs and behavioural outputs. This model has been developed in analogy with computers, where a specific input yields a specific output. One popular formulation of Functionalism states that each subjective experience (quale, plural qualia 2 ) is identical to the function with which it is associated. This implies that two functions could never produce the same quale, as it is the case with synaesthetes. 3 While synaesthesia was at first considered to be a neurological defect, 4 then the trait of a special gift, it finally opened up some new insights into the general functioning of the brain. The modern neurological research in the domain of synaesthesia has not only challenged the understanding of the human brain, as will be discussed further below, but also basic philosophical concepts. 1 Gage, John: Colour and Meaning, London: Thames and Hudson (1999), 262. 2 Qualia is the ways things appear to us. They can be defined as qualities or sensations, like redness or pain, and are considered independently of their effects on behaviour and from whatever physical circumstances give rise to them. 3 Cytowic, Richard E.: “Touching Tastes, Seeing Smells – and shaking up Brain Science”, in Cerebrum, volume 4.3, Summer: 7-26 (2002), 19. 4 Campen, Cretien van: The Hidden Sense, Cambridge, MA: MIT Press (2008), 1. 25
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 and 10: (Robert Fludd, for example) believe
Page 11 and 12: and how it could be organized into
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: The Bauhaus artists staged colour m
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
Page 59 and 60: idiom and thereby as well become re
Page 61 and 62: light. Roughly, three sorts of temp
Page 63 and 64: Fig. 4.2: Most recent performance o
Page 65 and 66: The different handling of colours c
Page 67 and 68: In Alias, I was furthermore interes
Page 69 and 70: gatings are often arranged in perio
Page 71 and 72: turn into a stressful sensation whi
Page 73 and 74: 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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