Dirty Light - Marko Ciciliani

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synaesthetic phenomena than the average. 16 However, it may also be that pharmacologically induced synaesthesia is not based on the same neural mechanisms as the congenital, lifelong experiences of synaesthetes, in spite of the superficial similarities. Also, not everyone who uses these drugs experiences synaesthesia. It is possible that a genetic predisposition is required for this perception to take place. 17 Synaesthesia seems to be six times more frequent in females than in males. 18 One wonders whether this is in any way related to the fact that colour-defective vision is also a hundred times more common amongst white males than amongst white females. 19 There is also indication that there is a much higher incidence of synaesthesia amongst fine artists (23% according to certain experiments). 20 Also amongst people practicing Zen meditation on a regular basis there is a higher percentage, as a recent experiment has shown. 21 People with one type of synaesthesia are more likely to also have a second or third type. It frequently runs in families, which indicates that it is genetically based. Family studies show that the trait seems to be passed along the X-chromosome. 2.3 Synaesthesia as a universal phenomenon As mentioned above, children usually have stronger synaesthetic reactions than adults. According to researchers, the brain of newborn babies does not differentiate between the various senses, but rather experiences sensory impressions as a single whole. It is only after the 5 th or 6 th month after birth that the senses start to differentiate. 22 However, taste and smell never get entirely separated: they closely interact throughout the lifetime of a human. Rather than looking at synaesthesia as a neurological oddity, several researchers 23 have more recently started to investigate synaesthesia as a mode of perception, which lies in the evolution of every human being. The study of synaesthesia has thereby revealed new neurological insights about the functioning of the brain. 16 Tart, C.T.: On being stoned: A psychological study of Marijuana intoxication, Palo Alto: Science and Behavior Books (1971). 17 Ramachandran, V.S. and Hubbard, E.M.: “Synaesthesia – A Window Into Perception, Thought and Language”, Journal of Consciousness Studies, 8, No.12 (2001), 5. 18 Ramachandran, V.S. and Hubbard, E.M.: “Synaesthesia – A Window Into Perception, Thought and Language”, Journal of Consciousness Studies, 8, No.12 (2001), 6. 19 Gage, John: Colour and Meaning, London: Thames and Hudson, London, 36. 20 Ramachandran, V.S. and Hubbard, E.M.: “Synaesthesia – A Window Into Perception, Thought and Language”, Journal of Consciousness Studies, 8, No.12 (2001), 17. 21 Cytowic, Richard E.: “Touching Tastes, Seeing Smells – and shaking up Brain Science”, in: Cerebrum, volume 4.3, Summer: 7-26 (2002), 26. 22 Campen, Cretien van: The Hidden Sense, Cambridge, MA: MIT Press (2008), 31. 23 For example Richard E Cytowic, Cretien van Campen and F. Scott Taylor. 30
Current studies have pinpointed areas in the brain that are responsible for synaesthetic perceptions. According to the nomenclature of the anatomist Korbinian Brodmann (1868- 1918), these areas are called Area 39 and 40 (located in the angular and supramarginal gyrus respectively). In these areas, simplistically speaking, separate sensory sensations merge together synaesthetically and emerge as numbers, words, concepts and sentient feelings; that is, they emerge as understandings shared among and between human and human environmental forces, …. Synaesthetic cross-wiring occurs in many parts of the brain and body, and is thought to have originated as a general phenomenon in the limbic regions of the brain, but Areas 39 and 40 form the interconnected hub most involved with higher thought and expression. It is here, quite simply, that we find the unity of our senses. 24 Cytowic has come to favour the model of a brain organisation called the distributed system. According to this model, functions of the brain are distributed in different, simultaneously and independently operating areas in the brain, while older models favoured the structure of a hierarchical cascade-like structure, where a transformation is completed before it is passed to another area of the brain. In the distributed system, so-called transmodal modules are relevant for synaesthesia. Transmodal means that they are not pertaining to a single sense, but: They construct multisensory representations of the world, they provide memory and affect to experience, and they critically participate in establishing categories via groups of coarsely tuned neurons. … The answer to synaesthesia will not be a where but a what. 25 These discoveries suggest that synaesthetic perception is inherent in human nature. This does not answer the question of why some people have strong and involuntary synaesthetic perceptions, while most others do not. But the question emerging from these observations is not so much why somebody is a synaesthete but rather why and when everybody else ceased to perceive synaesthetically. When understanding synaesthesia as a general intersensory connection, several traces of it can be discovered in basic brain processes: 24 Taylor, F. Scott: “Synaesthesia and “The Name of Silence” in the work of Steven Heimbecker”, in Heimbecker, Steve: Songs of Place, Montreal: Oboro (2005), 4f. 25 Cytowic, Richard E.: “Touching Tastes, Seeing Smells – and shaking up Brain Science”, in Cerebrum, volume 4.3, Summer: 7-26 (2002), 22f. 31
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 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: A possible explanation for the Ur-S
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
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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
Page 75 and 76: Fig. 4.11: light changes from mm. 8
Page 77 and 78: pitched material, the timbre also c
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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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