Tuesday, 21 April 2009

Synesthesia 2009 - Granada Spain

This Weekend in Granada Spain "Synesthesia 2009"
- Conference on Art, Science and Synesthesia

Check it out:

http://www.sinestesia2009.info/index.php

"The International Foundation Artecittà, after the success at the First International Congress (such as opening ceremony of its constitution), held in Cuevas del Almanzora, Almeria, decided in collaboration with the University of Granada and Polytechnic University of Milan, organize the Second International congreso Synesthesia, Science and Art with the aim of displaying and collecting the progress made by researchers and experts from European and American prestige in each of the many aspects of synesthesia. With an interdisciplinary approach Congress was particularly targeted at neurologists, psychologists, artists, linguists, art historians, musicians, educators and researchers in sensory disabilities, students and synaesthetes in any of their categories .The organizing committee, international, has decided to hold the third congress in Grenada for the great welcome they had such emerging interdisciplinary research, proposed by FIAC in 2007 and for being a city steeped in culturally and in science and research, is revealing with great force. "

a proposal of correspondence


An age old question reappears again. Can an objective correspondence be discovered between the audio and the visual. A new paper by
André Rangel Macedo of the Universidade Católica Portuguesa adresses the issue from a tewnty first century perspective.

"Visible and Audible Spectrums -
a proposal of correspondence"
by André Rangel Macedowas published in English today.


Download the article:

http://3kta.net/colmus/Colmus_Andre_Rangel.pdf

Abstract: Presentation of a proposal of correspondence
between Colour and Music. This proposal is
materially exemplified by means of a new hyperinstrument,
which gives its users the control over
a multi-sensorial algorithmic composition
generated in real-time. The employed
methodology and mathematical model are also
presented with some detail, insofar as they
pretend to be matter and reference for future
developments in the field of multi-sensorial
composition.

Saturday, 21 March 2009

An Eyeful of Sounds - Samantha Moore


Samantha Moore is an Independent Film maker who makes animated documentaries. Funded by the Wellcome Trust she developed a short film entitled An Eyeful of Sound with
composer Adam Goddard and Producer Joshka Wessels.


The film is based on research developed with Jamie Ward (head of a synesthesia research group at Sussex University, UK) and several audio-visual synesthetes. The film shows the responses of people with audio-visual synesthesia to musical notes. You can see an example of some of her work on her website:


http://www.samanthamoore.co.uk/

Saturday, 7 March 2009

Solenne Morigeaud - The “Synesthebag”



Solene is a surface designer who has done a survey related to synesthesia aiming to allow non-synesthetes to experience some aspects of synesthesia and to generally inform on the condition
She has taken concepts of synesthesia into the area of design using textured materials to create the “Synesthebag” (right).
She says about herself “I am a long term ‘challenge of perceptions and clashes of senses’ interested designer”
See more on the Synesthebag at:
http://textilefutures.co.uk/exchange/bin/view/TextileFutures/SolenneMorigeaudSamsonite

Saturday, 28 February 2009

Christian Faur

Christian Faur has made his own synaesthetic alphabet.
He has created a colour alphabet where each letter corresponds with a specific tonal shade.
Here is his system
and here is a book made using his alphabet

He also makes lot's of colour filled work such as this jacket...


and these pixel pictures made from arranging coloured crayons into an image.



This is what he says on his website...

Semiotcs of Color

Colors and how they can express coded information is an area often focused on in field of design, art, physiology and philosophy. Easily identified iconography in conjunction with color can quickly inform us about potential dangers (warning=yellow, danger=red), it can guide us on what social expectations are, and easily identify product branding (Mc Donald's, Coke, etc...).

The most common colors have a standard social precept in which specific colors might stand for a general mood or idea. These meaning do not often transcend the boundary of the society that has constructed the meaning. An example is the color black, which often stands for death in western society while it’s opposite, white, is used to symbolize death in the eastern cultures.

Their have been systems put in place in the past that use colors to signify abstract meaning. These systems range from those used in coat of arms, flags, and military uniforms to the color and patterned Setts of Skottish kilts used to identify clans or groups.

The Inca's are believed to have used a system of colored strings and knots as a system of writing and recording data which was probably one of the first uses of mapping color directly to language. (http://www.ee.ryerson.ca/~elf/abacus/inca-khipu.html).

In modern times, electronic engineers are using color mapping system developed for identifying the resistance of resistors (10 colors that represent the individual numbers from 0-9) as well as color coding for wires (http://en.wikipedia.org/wiki/Electronic_color_code).


Systematic Mapping of Color to the Alphabet

My use of colors in painting and art has also increased over the last five years and I have become aware of how difficultly it is to find a universal meaning of color that can transcends the cultural boundaries in a similar way that the symbols used in written language and mathematics have become universal. In a failed quest to find universal color meaning, I hit upon an idea of just mapping colors to a pre existing system that can hold meaning, the alphabet.

This type of mapping has been done in many ways in the past, with musical composers mapping colors to sound and harmony, computer artists mapping whole banks of words to millions of hues so that visual grouping can take place quickly. All these ideas, while forming an interesting system, did not meet my needs as a painter, as they could not be rendered in a direct way on canvas.

Taking a cue from Phoenicians, what I have done is to map a subset 26 distinct colors to a standardized set of signs (English alphabet or graphemes) that will allow me to construct meaning out of color directly and unambiguously using the English system of language that I am already familiar with.

These 26 colors are to be housed in a set of handmade glyphs (fonts) that allow a reader to more clearly navigate (i.e. read) through the color data (although the use of these glyphs are irrelevant as long as the colors are distinct, standardized and the reader is given a direction for reading). The addition of unique set of “punctuation symbols” developed in the font, allow the more accurate mapping of meaning from a standard “glyph” based set of symbols into the color.

The rules associated with reading English text do not necessarily apply when reading color text because of the symmetry of the glyphs. This difference has lead to different way of representing texts. For example, it is assumed that the reading be done from left to right but as the color swatches have no orientation, readers need only be given the direction in which to begin reading.

He also then goes into details of how the 26 colours were chosen and the creation of symbols and glyphs. There is plenty of exciting work on his site to get your teeth into.