A compilation of thoughts on acoustic and color properties of the
By Dimitri Soukonnov
© Kin Za Za.com November 11th, 2001
Learn your theories as well
as you can,
but put them aside when you touch
the miracle of a living soul.
This essay might be interpreted
as a certain criticism of the Tonality/Image ideas and technologies
when, in fact, it should be read as an account of what was experienced
there by a musician-filmmaker with a dedication to the field of tonal
imagery, a musician-filmmaker protective of the notion of visual tonalities
(harmonies) as a generator of experiences, thoughts, ideas, beliefs/disbeliefs
and processes that stand a good chance of being under-explored as
well as stimulating, inspiring, revealing and moving.
'TONALITY and IMAGE' as an
ATTEMPTED trans-disciplinary project involving FILM AND TEXT explores
the sonic tonality of image and visual color tonality of sound. This
project begins with the build up of three image sequences: 1) atonal
silver bells - black and white 2) C# minor Red, Orange, Purple 3)
As a film and text this project
is evolutionary. Meaning its present running time (45 min) and presentation
format (digital) is not final. As soon as I am able to overcome certain
financial limitations I intend to continue this film on a 35mm print
and 60/70min running time. Due to it's evolving nature in theory it
need not end until I do.
These THREE SCENES mentioned
above comprise a totality called:
BASED on a personal SONIC VISUALIZATION
THE TIBETAN BOOK OF THE DEAD
The aspect of MUSIC/NOISE is
an ATTEMPTED COMPOSITION based on the color and movement of IMAGES
and TENSIONS that I perceive existing between TWO IDEAS:
"THE PHYSICAL IMPOSSIBILITY
DEATH IN THE MIND OF SOMEONE LIVING"
(Damian Hirst; 1996)
IE. LIBERATION BY HEARING OF WHAT YOU SEE
IE. THE TIBETAN BOOK OF THE DEAD
It is possible to define
Tonality of Image as a form of experience, but, of course, evidence
for the occurrence of any experience is mostly subjective, phenomenological.
Following this exploration I begin to doubt there is a common system
at this moment in time for viewing image (shape/movement/color) as
a music tonality (sound/music).
However, if image and tonality serve certain functions in our mental
life then study of it is beneficial for developing alternative ways
of "hearing picture" and "seeing sound" for some if not for all as
a kind of mind tuning. Of course many authors/creators have chosen
different approaches of connecting Image and Sound. Or these approaches
have chosen them.
I was also inspired by several streams of unconventional thinking:
Buddhism, phenomenology, holistic, esoteric biology and exquisite
instances of eastern art such as Rumi's poetry (The Spell).
I wanted to construct a experimental foundation for a tonal understanding
of the image as it might pertain to insights by my favorite artists
such as those of multi-disciplinary painter M.K Ciurlionis, German
writers Tomas Mann and Hermann Hesse, Neitzsche, the Bauhouse movement,
Peter Brook, Louis-Bertrand Castel, John Cage, Gurdjieff, Goethe...
The above-mentioned artists/writers challenged me to step out of the
linear, overly rational discourse that at times has conditioned my
view of art. Almost every one of them one way or another has touched
the subject of tonal representation of the image. Some of them agree
that all aspects of the image such as color, shapes, movements can
be directly translated into sound- tonality, chords, melody but as
this essay will demonstrate, that's where the agreement ends. The
study of image/tonality perceptions stands out from other creative
and philosophical endeavors in that the field's great minds argue
cogently with little common ground, and where nothing is safe from
questioning. To my mind this situation presents a paradise on
the frontiers of knowledge.
Experiencing tonality of image and image of tonality invites important
questions about the nature of creativity and the mind of the artist.
In the absence of consensus about tonality/image issues among artists
and researchers of art I made an attempt to find a formula or framework
for synaesthizing music colored imagery via pre-production and production
stages of my film "The River".
"Viewing Music" and "Hearing
The following quotes might serve
as tuners into the mind-set of my purpose:
Different shapes of tones
in a constant, all-permeating light…
The soul of music has corridors
and interconnecting corridors in it, there are caves, hiding places,
dungeons in it; it is a hidden path from chaos to order; it is a path
from disconnected thoughts to fascinating stories…they (corridors) all
have different colors, all have different exits…
"Tonality of Image" is my
own definition of a controversial artistic phenomenon that is indicated
by a whole range of expressions: "picturing sound", "visualizing music",
"having/seeing a mental sound/picture", and, in some contexts, simply
"hearing image". In some cases, all these expressions suggest a purely
Synesthesia: Production of a sense impression relating to one sense
part to the body by stimulation of another sense or part of the body.
The issue of tonality/image has been raised not only to bring a fresh
perspective to the notoriously obscure art of filmmaking, but also
to try to illuminate the infinite topic of imagination itself.
Music and Image in my Work
My work as a filmmaker testifies
to my interest in the acoustical properties of image and the attempt
to incorporate musical strategies into filmmaking. My activities as
a director, coupled with my life- long interest in music, placed me
in touch with the unconventional merger of image and tone (BTW I can
also say: My activities as a musician, coupled with my life- long
interest in film….). Much has been made of the film language, musical
allusions, and possible musical structures to be found in many films,
however, my attempt to conflate the codes of music tonalities and
imagery in my short film "The River" was addressed differently. Given
my interest in sound-imagery interrelationships, it is not surprising
that "The River" draws heavily upon musical sources and exhibits certain
musical characteristics. I wanted to create lyrical, romantic and
melancholic flow of life imagery as perceived by a dying person.
When I was scripting the image sequences for "The River" I decided
to experiment with some properties commonly associated with musical
counterpoint: simultaneity, repetition, and autonomy versus interdependence.
These contrapuntal properties are typically displayed in tonal music
in the following manner:
a) Simultaneity is present in the concurrent interaction of
two or more melodic voices in counterpoint.
b) Repetition is present in the way a tonal composition is
limited to the twelve tones found in the chromatic scale and must
employ these according to the conventional hierarchy of consonance
c) Autonomy versus interdependence is present in the way the
concurrent voices in counterpoint are apprehended as two or more individual
melodic statements and, at the same time, as a single integrated polyphonic
All of these acoustical and rhythmic signifiers are introduced in
the first 5 minutes of the film. The acoustic signifiers in the story
show a progression from small black and white images/frames of the
bridge, underpinned by consistent references to bell tones and dripping
This progression moves from passive hypnotic participation of mandala
like sound/frames, intended to open up subconscious pathways in preparation
for a more active response to musical performance and the experience
of color saturated images.
d) Polyphonic images:
Just as musical counterpoint involves the simultaneous presentation
of multiple melodic statements, imagery epiphany involves the simultaneous
presentation of multiple perspectives (multi-layered imagery). Furthermore,
the recognition that the imagery epiphany is both a composite structure
and, at the same time, one integral thing is analogous to the way
counterpoint is both a combination of autonomous melodic lines and
an integrated, or interdependent, whole.
"The River" is an attempted approach to allegory, in which the imagery
vehicle itself is allegorized by highlighting the semantic disparity
between the way image points to the outside world and the conversely
more personal, self-referential nature of music.
The single predicate upon which this allegorical strategy depends
is the acknowledgement that image and music were once an inextricable
unity, what the ancient cultures called Holy Art. This predicate
is not only culturally determined, but is also phenomenologically
justified inasmuch as image and music are both comprised of tonalities
(sound/color) organized in time and space.
The Tibetan Book of the Dead:
I consider "The Tibetan
Book of the Dead, to be a sonic decoder of visual illusions.
It is read aloud to the dying and turns to musical chant, increasingly
tonal, with rhythmic and bell accompaniment, following death, when
the spirit is thought to be preparing itself for the next stage in
its "life" cycle. It is designed to identify all those demons that
are sensory products of our earthly existence, so that the soul may
understand them for what they are. This ritual is an opportunity for
the soul of the dying to awaken and embrace greater wisdom and choose
away from the cycle of repetition. It's an opportunity in this way
for healing, and comfort because a fundamental underlying assumption
of Buddhist philosophy is that repetition is a spiritual sickness
which keeps returning the soul to the same cycle of events until it
denigrates and corrupts or until it works its way to a higher state
of spiritual existence. The age-old practice of using sound for healing
is fused with the isolation and focus upon individual and particular
colors. This practice understands that the eyes and brain cannot not
see something in the same way that the ears and brain cannot not hear
and that these two sensual inputs are synesthetic in nature and should
be treated together. 'The River' is an attempt to interpret these
Two Shores of
The following text concerns
the two shores of "The River" intellectualism, and "Other ways
of seeing and hearing" such as "gut feeling", and the stream between
these two shores ie. creativity.
An unforgettable image is a revelation about the nature of reality.
In letting this principle flow through us, like "The River"
we are changed and our consciousness is transformed. Our physical
sensory receptors i.e. our ears, eyes, etc., can well be thought of
as information "transducers" which convert external stimuli i.e. changes
in air pressure, light, etc., into nerve impulses read by the mind.
Artists, scientists and philosophers have advanced many conceptual
models of what the mind does with these impulses to derive knowledge
Hirst's depiction of death in his installation, "The Impossibility
of Death in the Mind of Someone Living" featuring a 14 foot shark
floating in a tank of formaldehyde, provokes in me a meditation on
sensory possibilities, as does "Bardo Thadol" only from a material
perspective. According to this secular point of view of life it seems
there are no ultimate and universal answers to our fears and dreads;
there are only tensions that are either sustained or relieved. As
a Russian immigrant swept up and along, bounced off an eastern weather
front into a westernized whirlwind that has its own cultural, social,
ethical, spiritual, that in its own way is contradictory, schizophrenic,
privileged and terrified of death, these tensions are alive in me
and the work I do. And this is why "The River" reflects contemplation,
a journey, as opposed to a realization or a destination. "Bardo Thadol"
concerns a visualization in which auditory experience is used to help
decode visual illusions. So that hearing is perceived as truth and
seeing as lies.
Gavinda said that it's strange that we're frightened to die but we're
not frightened by the fact that there was a time when we were not
here. We neurotically focus instead on the task of death avoidance
and so in a sense live death constantly and painfully. Film too, in
its own way, encourages this paradox in that it nearly always involves
a presence as opposed to an absence; considers an object in a field
of references. Assumes material forces in a material domain that more
or less take center stage, even when it talks about spirit. Music
on the other hand is experienced as spiritual perhaps because, as
Tarkovsky neatly put it, music requires us to believe without seeing.
He worked like a musical composer in his films. Instead of moving
from location to location because of the primary demands of a typical
film narrative e.g. character traveling in a train, moving the story
from one location to the next - he foregrounded subordinate elements
like space, color, tonality, tempo, rhythm. A friend of mine
cinematographer once asked Andrei Tarkovsky if he would ever consider
directing a music film. Tarkovsky replied that that's what he thought
he'd been doing all his life.
The nature of sound and body:
Every soul is a melody.
Every body is a rhythmic knot. Mallarme claims that every soul
is a melody, which must be renewed, and every body is a rhythmic knot.
In my opinion Mallarme really understood the relationship between
sound and image. In one of his texts he writes of the sublime, generative
aspect of Wagner's music: "… an audience would have the feeling that,
if the orchestra were to cease exercising its control, the mime would
immediately become a statue." My obsession with sound is actually
an obsession with the mind's eye, the subconscious. I go from internal
to external via sound. Therefore I find the sound (voice, music noise)
magical - it can exist in both realms. "… in its phenomenal being
it seems capable of dispensing with this exteriority within interiority,
this interior space in which our experience or image of our own body
spreads forth." (Alan Weiss; "Erotic Nostalgia")
In my own creativity sound/music comes always before the image/story.
I have to hear it before I see it. In non-dialogue narrative I always
have to assemble the sound track first in order to get a clear vision
of how to layer/sequence my images on top. Though I might change the
sound track at the later stage of post-production. I am particularly
curious about the conceptions which might explain to me why sound
and music are so tied to my (our) body in my own mentality. To hear
is to connect with our "bodily co-ordinates", with that which we can
sense, because we cannot perceive sound without both time and space.
I understand that somehow our assumptions and experience of sound's
emotional power rests in its happening in time and space. Just as
we imagine our existence to be in both body (time) and soul (space),
so sound makes a linkage between them real for us. Just as our person
is both concrete and imagined, so is sound. Conversely, silence is
equated with death, with absolute Otherness. However, as we have seen,
silence perceived is actually sound. And if sound is a phenomenon
that occurs and decays over time and space, ever decreasing in intensity,
then the human body could also be described in such a way. We can
only cut off hearing through death and so sound and music tie us to
our mortality. Because sound decays, it gives us a sense of being
there at its vortex, or not being there. Like the human body, a decaying
sound - a sound moving toward silence - moves into a distance that
is marked and measured by its absence from itself.
A brief overview of tonality/image technologies.
"Our writing instruments contribute to our thoughts"
I am sitting in front of
my computer. I press a key and watch as the cursor floats through
the waveform. I am using a program called Samplitude. It has
a unique feature (Comparosonic) for coloring a wave file according
to it's frequency. I hear the sound at the same time as I see its
shape and color which is traversed by the cursor. 'Our writing instruments
contribute to our thoughts,'1Nietzsche wrote in 1882. It is certainly
the case with me. I always wanted to get a 'better look' at sound
and study its visual nature. Now I can magnify the image of a sound
and study it at the sample level. After years of practice (editing
dialogues) it is possible for me to visually identify different
sibilance in human speech in the course of using this program
called Samplitude. I know the "look" of "s", "p", "k" But my plan
was to go deeper then the physical level. I wanted to see the birth
of the sound and then to experience how it gives birth to an image.
We do hear sound on the non material level as in the case with music,
in our heads, in our feelings. And sound recording has introduced
us to a new dimension to "the world of the dead", by manifesting the
hallucinatory, paranoid, supernatural or presence of invisible.
The effects of amplification, repetition, reversal, projection, broadcast,
disassociation, and disembodiment equal those of the most profound
In search of a
The following sections
represent an attempt to condense into a few pages information from
different schools of philosophy, music composition and spirituality
with regard to color/tonality systems.
Mini-intro: Paraphrasing Peter Brook
"…The artist searches vainly for the sound of a vanished tradition,
and critic and audience follow suit. We have lost all sense of ritual
and ceremony- whether it be connected with birthdays or funerals -
but the words remain with us and old impulses stir in the marrow.
We feel we should have rituals, we should do "something" about getting
them and we blame the artist for not 'finding' them for us. So the
artist sometimes ATTEMPTS to find new rituals (color/sound/image)
with only imagination as his source: he imitates the outer form of
ceremonies, pagan or Buddhist, unfortunately adding his own trappings
- the result is rarely convincing. And after years and years of weaker
and waterier imitations we now find ourselves rejecting the very notion
of a HOLY ART…"
As much as I enjoy the force and wit of Peter Brook's thought I beg
to differ and hold that imagination does not necessarily have to be
imitation and can put us closer to original creativity, closer than
we think i.e. we often imagine closer than we can think it.
The studies of color-music-image links during the last five thousand
years in different parts of the world has resulted in an unprecedented
variety of trends which have given us different aesthetic landscapes.
One of the distinguishing marks of the modern period has been the
tendency of creating a music for the eye (music-film) (not to be confused
with film for music, or music for film) comparable with auditory music
for the ears that dates to antiquity (Egyptian theater and pagan cults).
But so far no universal technical formula has given it the durable,
popular basis of the other (pure) art forms. Each major figure in
color/image/ tonality had to spend a large part of his career inventing
or struggling with clumsy, ultimately obsolete machinery, or following
purely intuitive paths.
Image and Tonality are related in so many ways that it is necessary
to categorize some of those relationships. First, there is the debate
of whether image is itself a tonality. The belief that image possesses,
characteristics of tonality leads me to attempt to apply tonality
theories to the understanding of image in my film. These include music
analyses, theory of harmony, specially invented theories and polyphonic
theory. This category could thus be called "image as tonality".
Regardless of whether music actually is an image, our experience of
music is evidently so subjective as to cause us not to be satisfied
with the idea that perception of it is shared by others. This has
led me to the practice of attempting to "translate" music into images
and colors or to "describe" musical phenomena in images.
One of the first color/tonality systems was introduced by Pythagoras
who had an understanding of a music emanating from celestial spheres
as a natural consequence cosmic fusion or integration. According to
this view the universe embodies a divine geometrical harmony that
is mirrored in all natural phenomena, both in the microcosm and the
macrocosm. The harmonies of celestial orbits parallel the seeming
regularities of life on earth. The basis of these associations is
mathematically precise vibrations that are manifested as light, sound,
image, fragrance, and other sensual stimuli. Fusing one's perceptions
of these apparently discrete sensory inputs constitutes synesthesia,
which Pythagoras considered the greatest philosophical discovery and
spiritual achievement as it reconciled the illusory everyday world
with the authentic world of universal, enduring, abstract truths.
From such beginnings the field of "specialized music/tonality perceptions"
has evolved. These are invented, descriptive or explanatory systems,
specially designed for the translating of music into color/imagery,
and image into music/sound tonality. One of the best known and possibly
most controversial music/color systems is a synesthetic concept developed
by Alexander Scriabin.
How all of the above applies to my film
" It is impossible to imagine our own death; and whenever we attempt
to do so we can perceive that we are in fact still present spectators"
I wanted to create imagery
inspired by the following: 1) readings in Russian and English of the
TOBD 2) conversations with monks I had visited in the southeast region
of Siberia who practiced a form of shamanic Buddhism, mainly handed
down word of mouth, remarkable in this way for always remaining in
the present. 3) Two years in the Russian army through which a main
tenet of Buddhism, i.e. the transient nature of all experience, helped
sustain me in a place that very close to death. 4) My journey to the
west and subsequent challenge to everything I'd ever known a kind
of death therein. 5) A realization of the phenomenological possibilities
of colored music imagery following harmony rather than rhythm.6) A
visualization of the Tibetan Book of the Dead that is both disturbing,
beautiful, mysterious, romantic, lyrical and classical…
Any technique, knowledge or theory should be transparent in its application
ie. a pathway to visibility. For this reason I abandoned the idea
of following through on a folk concepts of color and sound described
above. I found them far too mechanical and subsequently untrue in
that they stifled my own accidental, spontaneous and subjective experience.
Whilst adhering to the color/tonality I'd intended I found it impossible
to bring all the elements of my work together into some form of cohesion.
I was therefore forced to re-examine and explore the philosophies
that influence my behavior, thoughts and feelings.
The last sequence of my film shows a foot falling back to the ground
with a thud, a tiny inter cut, five or six frames of a bird in a cage,
feet rising above a harmonium, and finally the film crops in synchronicity
with the beginning. In contemplating yet another ending I considered
what this could mean in relation to the tensions that reside between
Hirst's work and The Tibetan Book of the Dead, in a last analysis,
wondering how these tensions might be reconciled or laid to rest in
me. Some words from 'Thus Spoke Zarathustra' later came to mind. "That
time does not run backwards, that is his wrath. Revenge is the will's
ill will against time and its 'it was'. 'It was' - that is the name
of the will's gnashing of teeth and most secret melancholy. The will
cannot will backwards; and that he cannot break time and time's covetousness,
that is the will's loneliest melancholy. To redeem those who lived
in the past and to recreate all 'it was' into a 'thus I willed it'
- that alone I should call redemption. All 'it was' is a fragment,
a riddle, a dreadful accident - until the creative will says to it,
'But thus I willed it."
Perhaps the material energy conveyed in an ontological conception
such as Hirst's shark, with its suggestion of life as a stubborn quality,
in denial of death, finds a counterpoint in Neitzsche's expression
of spiritual release through acceptance of the world as illusion and
through determination of the will to see, in his description of the
It's been observed that film and music as recording technologies allow
for a radical plasticity of time and most vividly cater to paradoxical
conditions of renewal and creativity, reversal and change. In a sense
Hirst's work appeals to the filmmaker and musician in me as he nearly
but not quite plastifies in his use of pickling solutions. There is
also a terrible beauty there, partly conveyed in the implicitly temporal
nature of his work. This body of work is corrupted, suspended as it
were, as Damian plays God, slowing time's entropy. The works might
also suggest the fetishized hand of a saint. They are in fact truly
and radically not spiritual in and of themselves, but they might be
goading us to look elsewhere for that. In some sense these spectacles
beg rejection. I imagine the bodies beg release from their respective
time warps. And yet the viewer is spellbound by their silence, strains
to hear something, a breath or a sigh perhaps. Is Hirst not asking
us to imagine a day we too would resound with that quality of silence?
In his titles, 'The Impossibility of Death in the Mind of Someone
Living' and 'Away From the Flock' he suggests that to imagine such
a time and space is not possible.
The effort of imagining, a kind of purgatory in itself. Just that.
I return again and again, different every time, to 'The Tibetan Book
of the Dead' because of the promise of peace therein, the promise
of life, if only I stop imagining and start listening. I return
to its equation of sense of sight with illusion and sense of sound
with truth. Hirst's body of work may convey the illusions of the body
as finite and the sound as silence. But I believe the truth to be
the opposite. Decomposition has its own sound. And a sound is no more
plastic than a memory or a dream. This is certainly no less true for
the object-value lent to sound by its recordability, sound that, given
its complex nature, will never twice be the same. I concur with the
idea that the recording studio creates a space where the body can
experience a kind of death in the sense of a remembered impression
or a haunting even, in that the body is separated from its sound,
and experiences a sense of one less breath to breathe.
In recording the soundtrack to my film I was initially startled and
disturbed by the plethora and speed of fleeting imagery in relation
to the sound pallet I had before me. The sounds infused me in a way
that the illusions could not. The ambient sounds in different tonalities
came to me as true, though unlike the imagery, impersonal. They were
intended to serve as a means of highlighting the color of the image
by using corresponding tonalities of sound following Scriabin's system
borrowed from the Theosophists interpretations of Eastern philosophy,
essentially folk ideas, culturally and sensually derived from experience
Microperception and microtones
I eventually realized upon
viewing the first draft that the process did not add anything but
instead tended to labor the message. Borrowing from this culturally
specific system and tacking it onto my idiosyncratic sequences of
imagery stylized the whole and proved moreover that single tones were
inadequate to describing the actual presence of hundreds of microtones
in the use of reds, oranges, yellows, golds ie. all those derivatives
of red. Eastern music is far more suited to the task because of its
integral use of microtones. I chose against the use of eastern sound
and music because it is far too culturally specific and other and
of course requires an acutely eastern educated ear. I would not have
felt comfortable handling microtones I couldn't fully distinguish.
So I decided to focus on motion and rhythm in articulating the footfalls
of the journey and cut the film therefore according to this cloth.
The field of color/tonality undoubtedly needs further development.
We don't know much about the internal structure of our perceptual
and imaginative awareness. We also lack detail about what perceptual
instruments there are, and how they might work (and details that are
given are frequently speculative). Color/tonality is evidently a highly
value laden and culturally charged concept and this does not provide
Before I made this film I had a piece of music which set me on a journey
of visualizing harmonic structures. Once I had filmed the desired
sequences and had edited the first draft I then began to tune the
sound to the image. During this process it became apparent that if
I simply highlighted the overall sound tonality of the picture then
this would flatten the other microtones in terms of the color and
the density of the image. As such I found there to be a correlation
between the complexity and the compatibility of sound and image which
frequently did not favor the application of Scriabin's system. By
this I mean that there were simply too many varying tones of red to
justify the simplistic application of C tone and C tonalities e.g.
C7 C9 C7+5 in every instance. Perhaps this was apparent or at least
more marked by the highly wavelike nature of the rhythm of editing
as well as the multiple layered nature of the imagery.
In the final analysis I found the artistic merit of keeping to the
color/tonality system in the making of the film "The River" hard to
justify and sustain. As such the value of the color /tonality approach
in my process was to be realized as experimental and problematic as
opposed to artistic, spontaneous, and envisioned. However it did
heighten my awareness of how things connect among themselves.
It made me look at my own creative process, at macro and micro
levels of color and sound on a scale previously unexplored, and raised
a series of psychological and philosophical problems that led me further
along a certain continuum. Finally, the theory of tonal imagery was
not directly implemented in my film (although it was extensively used
as a meditative and creative process in visualizing many "moods" behind
it) and it certainly improved my personal qualities as a filmmaker
and art practitioner. This is why the understanding of the nature,
origin, and dynamics of color/tonality is a factor of critical importance
for the theory and practice of filmmaking. It has deep implications
and potential for audio/visual impact, the definition of the effective
mechanisms of art and artist's transformation, and the choice of creative
This project was a difficult work of exploring and integrating perceptions,
emerging technology, artistic principles, and natural links for the
dynamic arts of sound and image. Also submerging my self into tonal
meditations on the image helped me to realize the dangers of different
forms of art materialism and the uncritical application of rules.
Any technique or system is not the end of the road it is the beginning
of it and this is precisely how I ended up using color/sound tonality
in the production of my film. It inspired me, it moved me, it made
me discover many things but in the end something else took over my
creativity and I abandoned it in favor of my more idiosyncratic perceptions.
The different systems I explored clearly left their mark in terms
of the colors I subconsciously chose to highlight. In fact if these
colors inspired Scriabin then they seduced me the more so through
the exquisite nature of his music
The field of color/tonality is wide enough to fill a myriad of volumes
uniting film, color music, metaphysics, philosophy, mysticism, physiology,
psychology and neurology, with about two dozen other areas of knowledge.
All of these volumes will deal with the simple fact that ton color/tonality
is not just structured sounds, colors and shapes, but a synesthetic
phenomenon that acts on human nervous systems through all senses in
addition to having its cognitive appeal to the analytical musical/image
More to come Copyright©Dimitri©KinZaZa