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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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)

Zdeněk Pešánek: Kinetismus: Kinetika ve výtvarnictví – barevná hudba (1941) [Czech]

Zdeněk Pešánek (1896-1965) was one of the most inventive and original Czech sculptors of the 20th century, who pioneered experiments in light- and kinetic sculptures. His works, highly abstract and biomorphic, made use of neon and incandescent lighting as part of the sculptural elements. He also was a designer for both architectural and interior structures, and worked with the fusion of light and music, developing the use of “clavieres a lumieres” and light-organs. His aesthetic was more informed by sound and tonality than visual precedent, and is quite original. At this date almost no sculptures exist in private hands and the public sculptures have been largely damaged or destroyed. The book Kineticism: Kinetics in Fine Arts – Color Music is the only publication in his lifetime in which his theories were given exposition and is his creative credo as well, replete with b/w and color illustrations. Amazingly published during the Nazi occupation.

Edited by Josef Vydra
Publisher: Česká grafická unie, Prague, October 1941
Edice výtvarné výchovy, svazek 8
144 pages

PDF (no OCR, updated on 2013-2-12)