Dirty Light - Marko Ciciliani

Recommendations

Info

these ideas can be found in the writings of Plato (427-347 BC) 6 , Aristotle (384-322 BC) 7 and Ptolemy (90-168). 8 They also gained much attention in the Middle Ages – most notably by St. Augustine (354-430) 9 and Anicius Manlius Severinus Boethius (ca. 480-524) 10 and eventually underwent a thorough revision through Johannes Kepler’s (1571-1630) Harmonices mundi libri V from 1596. 11 The influence of Harmonic Pythagoreanism on Western music can hardly be overestimated. The Pythagorean laws of harmonic relationships also served as the basis to include music as Ars musica into the Septem artes liberales that consisted of the mathematically oriented Quadrivium and the linguistically oriented Trivium. Alongside with arithmetics, geometry and astronomy music formed the Quadrivium. 12 The Artes liberales were the main curriculum of the universities since the Middle Ages. The integration of music into academic studies formed the basis for the development of music theory and for the formation of a discourse on the treatment of consonances and dissonances in church music. The correlation of a visual (the observation of the rotation of the planets), aural, spiritual and mathematical phenomenon is therefore deeply embedded in the understanding of Western music. Since the Renaissance the idea of Harmonia Mundi has lost its momentum due to the growth of rationalism and the development of systematic sciences. 13 Since it is not possible to prove that the rotation of the planets actually produces an audible result, 14 during the Enlightment period the concept was regarded with increasing skepticism. In the 20 th century, however, it came up again as part of numerous new-age movements. Interestingly, the idea of a “gigantic symphony” underlying all matter in the universe is also a common metaphor used in String Theory, 15 a branch of Quantum Mechanics and Relativity Theory that developed from the late sixties of the 20 th century with the aim of merging and reconciling the two areas of physics that have hitherto contradicted each other. Part of the String Theory is a so-called dualresonance model, which is assumed to underlie all matter. Presuming that vibration is at the core of everything and that the universe forms a giant symphony, conjures up the concept of harmonia mundi. 6 Godwin, Joscelyn: The Harmony of the Spheres, Rochester, Vermont: Inner Traditions International (1993), 4ff. 7 Haase, Rudolf: Geschichte des Harmonikalen Pythagoreismus, Vienna: Verlag Elisabethe Lafite (1969), 11. 8 Godwin, Joscelyn: The Harmony of the Spheres, Rochester, Vermont: Inner Traditions International (1993), 22ff. 9 Haase, Rudolf: Geschichte des Harmonikalen Pythagoreismus, Vienna: Verlag Elisabethe Lafite (1969), 24-28. 10 Godwin, Joscelyn: The Harmony of the Spheres, Rochester, Vermont: Inner Traditions International (1993), 87f. 11 Haase, Rudolf: Geschichte des Harmonikalen Pythagoreismus, Vienna: Verlag Elisabethe Lafite (1969), 84. 12 “Ars musica” in Meyers Taschenlexikon Musik, Vol.1, Mannheim: Meyers Verlag (1984), 61. 13 Haase, Rudolf: Geschichte des Harmonikalen Pythagoreismus, Vienna: Verlag Elisabethe Lafite (1969), 81. 14 This criticism was raised for the first time already in the early 14 th century by Walter Odington. See Haase, Rudolf: Geschichte des Harmonikalen Pythagoreismus, Vienna: Verlag Elisabethe Lafite (1969), 36. 15 http://www.scienceagogo.com/news/string_theory.shtml, [accessed on January 10, 2010]. 6
1.1.2 Antiquity The Greek Antiquity is considered to be the root of modern natural sciences for which Pythagoras’s philosophy provided many basics. Due to its privileged position in Pythagoras’s thinking music was considered a science. Optics, however, were not. The first rudimentary theory of colour is attributed to Alkmaeon of Croton (mid 5 th century BC) a student of Pythagoras. He assigned four colours to the four basic elements fire, air, earth and water. Also Heraclitus (±550-480 BC), Empedocles (±500-±430 BC), Democrates (±460-±370 BC) and Plato differentiated between four main colours. It is characteristic of the natural sciences of the Antiquity that numerical concepts of certain orders of things were considered more important than their empirical accuracy. Aristotle went deeper into analogies between sound and colours as part of his thorough researches on the human senses. In his book De anima he describes sight and hearing as superior senses. There he also describes several aspects that sound and light have in common, like the excitement of the air that is a prerequisite for both so that they can be perceived. He also compares pale colours with faint sounds and points out that other materials reflect both sound and light. In his book De Sensu he gives a detailed comparison between tastes and colours. Based on the musical scale he assigns 7 different tastes to 7 different colours. He also speaks of consonances and dissonances between colours. Placing black and white on the edges of the colour scale, he states that these colours are less pleasant for the eye to look at. Green he places in the middle of the scale, since he perceived it as the most balanced and agreeable colour. 16 According to the same criteria he formed the scale for tastes. Thinking in such analogies, Aristotle put himself in an old tradition. 17 The idea of gaining knowledge about natural processes by drawing analogies between different phenomena can be traced back to the oldest writings of Greek Antiquity, including Pythagoras. 1.1.3 Middle Ages In the early Middle Ages the occidental Christianity was more interested in preserving the knowledge collected in the classical era, rather than in developing new interpretations. 18 The major body of scientific knowledge was based on Aristotle. Since he was considered as being too rational, his ideas were often extended by occult sciences. 16 In reference to Aristotle, in the 16 th and 17 th century green was therefore often equated with the octave interval. 17 Jewanski, Jörg : Ist C = Rot, Berlin: Berliner Musik Studien Band 17 (1996), 87f. 18 Crombie, Alistair Cameron: Augustine to Galileo, München: DTV (1959/77), 5. 7
Page 1 and 2: Dirty Light: the application of mus
Page 3 and 4: Dirty Light: the application of mus
Page 5: 1. Historical overview 1.1 History
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 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
Page 75 and 76:
Fig. 4.11: light changes from mm. 8
Page 77 and 78:
pitched material, the timbre also c
Page 79 and 80:
as man-eater and/or vampire, which
Page 81 and 82:
illuminated by a LED bar that is pl
Page 83 and 84:
possible to recognise any elements
Page 85 and 86:
Potentially, the rhythmic motives f
Page 87 and 88:
Fig. 4.20: photo from the premiere
Page 89 and 90:
Reflections from wax water/vinegar
Page 91 and 92:
Lowest note: c# e c# f# c# g# c# c#
Page 93 and 94:
Similarly to the otherwise more sta
Page 95 and 96:
Fig. 4.22: position of grand pianos
Page 97 and 98:
of light, that also express the pas
Page 99 and 100:
during the entire duration of this
Page 101 and 102:
pulse sound is played through the 8
Page 103 and 104:
synchronization are required. Furth
Page 105 and 106:
of the way the light design actuall
Page 107 and 108:
phenomenon and searches for its med
Page 109 and 110:
It seems to me that the most radica
Page 111 and 112:
It is impossible, … for a specula
Page 113 and 114:
movement of the painted elements ca
Page 115 and 116:
one of the main actors in her uniqu
Page 117 and 118:
Seymour Locks (1919-1964) was an ar
Page 119 and 120:
The House Parties were large gather
Page 121 and 122:
6. Conclusion The various compositi
Page 123 and 124:
that harmony can be experienced in
Page 125 and 126:
Huddersfield/Great Britain. Duratio
Page 127 and 128:
Cytowic, Richard E.: “Touching Ta
Page 129 and 130:
N Naumann, Sandra: “Seeing Sound,
Page 131 and 132:
Woronov, Mary in: O’Brian, Glenn:
show all

Dirty Light - Marko Ciciliani

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?