Synesthetics

It is said of the german composer Franz Liszt that in 1842 he instructed his orchestra in Weimar with the following words: “This tone is dark violet, my sirs, and not quite pink, believe me!”

Also popular for his ability to perceive music with colours was Alexander Skrjabin (1872–1915). The symphony „Promethée – Le Poème du Feu“ of the russian composer has a separate voice-part for a so called colour-piano, to be especially constructed („clavier à lumières“). It was Skrjabins goal to create a „synthesis of art“. Therefore he used his gift of synaesthesia.

Synaesthesia describes the linking in percipience of two or more different sensory inputs, such as the combination of the sense of hearing with seeing or the sense of smell with the sense of touch – or also the combination of a sensory stimulus with emotions.

The well known artist Kandinsky started out from synaesthesia and (among other things) associated colours to different sensory stimuli such as „soft, aromatic“ (blue) or „sharp, stabbing“ (yellow). He worked abstractly, music acted as inspiring example, whereas it is possible to express feelings through notes. He spoke of colour-tunes and compared the harmony of colour with the harmony of tunes. One goal of his art was to reach colour-harmony and to touch the human soul.

The work of SOUND OF ART originates under the productive influence of synaesthesia with an emotional emphasis. Music generates an emotional tension, which erupts in particular sensations of colour, lines, forms and superimposing dynamics. Every sound image results in a distinctive emotional imprint.

Synestethics
syn (in Greek = together) and aisthesis (in Greek = sensation): Senses merge with one another