Los resultados fueron bastante interesantes, revelando un buen número de correspondencias. Han hecho experimentos comparativos utilizando estímulos sonoros específicos para crear dibujos de las formas que experimentan con estos sonidos. Timothy B Layden, Christine Söffing, Klaus SchmidtkeĬhristine Söffing y Timothy B Layden, ambos tienen la sinestesia de la forma de sonidos. The results from the experiment could also become part of the exhibition, which I am also currently putting together with Victor Para for the congress. The second part of the presentation we will share our findings with the public at the conference and present how we use our synesthetic experiences of sound in our individual art practices. We will analyze the results looking for correspondences and other interesting findings. The first part of the presentation should take place at the beginning of the congress wherein we will explain our experiment and ask the public attending the congress to create visual interpretations of specific sound stimulus. We would like to extend this experiment to a large public with the congress. The results were quite interesting, revealing quite a few correspondances. His unique position among contemporary eletrocoustic composers both in Brazilian scene and outside, and his many interesting insights on the relation between perceptual modalities of hearing and seeing are inspiring and surprising when revisited almost 50 years after the first public presentation of his ideas.ĭr Timothy B Layden, Christine Söffing, Klaus Schmidtke KingdomĬhristine Söffing and Timothy B Layden both have shape to sound synesthesia and have done comparative experiments using specific sound stimuli to create drawings of the shapes they use with these sounds. Both for his unusual scope of thinking - including an original hipothesis of brain activity which supports his own criteria of correspondences, in the 1960s, much before the "boom" of synesthesia debate in the late 1980s! -, as for psychology insights and surprising connections Rosacrucis esoteric texts. Specially worth to be noticed, his "cromofonic" compositions and his theory of correspondences between colors and sounds are exquisite in many aspects. Since de mid-1960's, when he founded the "Studio for Chromomusical Research", at the prestigious Villa-Lobos Institute, in Rio de Janeiro, Antunes has brought singular and original contribuitions for this cross-disciplinary field, works indeeds labeled by himself as "synesthetic" - pioneer immersive multisensorial environments, cross disciplinary musical compositions and visual artworks. Among these, the work of composer Jorge Antunes is specially interesting and underdiscussed. Abraham Palatnik, for example, has produced in the early 1950s his first Kinechromatic works that, nevertheless silent, are surprisingly close to Thomas Wilfred's Lumias, Oskar Fischinger's works and other usually considered key references in syn-aesthetics. Among Brazilian artists who can be related to synesthetic artworks narrative, one can certainly count the well known works of Lygia Clark and Helio Oiticica (Sergio Basbaum, 2005), but also other names are relevant in an inventory of synesthetic poetics. Guy Brett, 2004 Ricardo Basbaum, 2006), Brazilian artists have played a key role in bringing in the unity of the body and the whole sensorium in contemporary arts, since the early 1960s, in a manner radically distinct from their peers in Europe and in the United States. However, as often noticed in contemporary art accounts (eg. Visual music and synesthetic art-works chronology accounts (for example Moritz, 1986 Jewansky and Sidler, 2005 Schneider, 2013 Brougher et al, 2005 Hernandez barbosa, 2007) usually focus the history of art and aesthetics in Europe and North America, mostly refering to artists that have produced their works in such circuits.
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