Kateřina Drajsajtlová: Světelný klavír v uměleckém díle Alexandera Nikolajeviče Skrjabina a Zdeňka Pešánka (2012) [Czech]

Bakalářská diplomová práce se zabývá světelnou kinetikou v díle A. N. Skrjabina a Z. Pešánka. Omezili jsme se na vynález světelného klavíru jako artefaktu, který se objevuje v díle obou autorů. Z širšího hlediska se v práci zabýváme stručným vývojem tohoto technologického díla. Podstatnou část práce tvoří komparace díla obou autorů – a to z technologického, uměleckého a kulturního hlediska. Srovnávali jsme užití barevných systémů, technologické možnosti, historické, kulturní a duchovní zázemí obou umělců, tedy jakým způsobem byl ovlivněn Zdeněk Pešánek ve své umělecké tvorbě dílem skladatele A.N. Skrjabina.

Bakalářská diplomová práce
Teorie interaktivních médií, Filozofická fakulta, Masarykova univerzita, Brno
Vedoucí práce: Martin Flašar
62 stran

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Casey O’Callaghan: Sounds: A Philosophical Theory (2007)

“Vision dominates philosophical thinking about perception, and theorizing about experience in cognitive science has traditionally focused on a visual model. In a radical departure from established practice, Casey O’Callaghan provides a systematic treatment of sound and sound experience, and shows how thinking about audition and appreciating the relationships between multiple sense modalities can enrich our understanding of perception and the mind.

Sounds proposes a novel theory of sounds and auditory perception. Against the widely accepted philosophical view that sounds are among the secondary or sensible qualities, O’Callaghan argues that, on any perceptually plausible account, sounds are events. But this does not imply that sounds are waves that propagate through a medium, such as air or water. Rather, sounds are events that take place in one’s environment at or near the objects and happenings that bring them about. This account captures the way in which sounds essentially are creatures of time, and situates sounds in a world populated by items and events that have significance for us. Sounds are not ethereal, mysterious entities.

O’Callaghan’s account of sounds and their perception discloses far greater variety among the kinds of things we perceive than traditional views acknowledge. But more importantly, investigating sounds and audition demonstrates that considering other sense modalities teaches what we could not otherwise learn from thinking exclusively about the visual. Sounds articulates a powerful account of echoes, reverberation, Doppler effects, and perceptual constancies that surpasses the explanatory richness of alternative theories, and also reveals a number of surprising cross-modal perceptual illusions. O’Callaghan argues that such illusions demonstrate that the perceptual modalities cannot be completely understood in isolation, and that the visuocentric model for theorizing about perception – according to which perceptual modalities are discrete modes of experience and autonomous domains of philosophical and scientific inquiry – ought to be abandoned.”

Publisher Oxford University Press, 2007
ISBN 0199215928, 9780199215928
193 pages

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Cretien van Campen: The Hidden Sense: Synesthesia in Art and Science (2007)

What does it mean to hear music in colors, to taste voices, to see each letter of the alphabet as a different color? These uncommon sensory experiences are examples of synesthesia, when two or more senses cooperate in perception. Once dismissed as imagination or delusion, metaphor or drug-induced hallucination, the experience of synesthesia has now been documented by scans of synesthetes’ brains that show “crosstalk” between areas of the brain that do not normally communicate. In The Hidden Sense, Cretien van Campen explores synesthesia from both artistic and scientific perspectives, looking at accounts of individual experiences, examples of synesthesia in visual art, music, and literature, and recent neurological research.

Van Campen reports that some studies define synesthesia as a brain impairment, a short circuit between two different areas. But synesthetes cannot imagine perceiving in any other way; many claim that synesthesia helps them in daily life. Van Campen investigates just what the function of synesthesia might be and what it might tell us about our own sensory perceptions. He examines the experiences of individual synesthetes—from Patrick, who sees music as images and finds the most beautiful ones spring from the music of Prince, to the schoolgirl Sylvia, who is surprised to learn that not everyone sees the alphabet in colors as she does. And he finds suggestions of synesthesia in the work of Scriabin, Van Gogh, Kandinsky, Nabokov, Poe, and Baudelaire.

What is synesthesia? It is not, van Campen concludes, an audiovisual performance, a literary technique, an artistic trend, or a metaphor. It is, perhaps, our hidden sense—a way to think visually; a key to our own sensitivity.

Publisher MIT Press, 2008
Leonardo Books series
ISBN 0262220814, 9780262220811
185 pages

publisher
google books

PDF (updated on 2013-3-19)