As an instrument designer, I read the writing of artists, musicians, inventors, film makers, and to an extent syntesthetes and psychologists, with an eye to their ideas about how music and visual art could be related to affect audiences. This way of reading is, for me, like engaging the writer in an interview in which I return repeatedly to such questions as “what kinds of expression would you like to achieve in your work?” and “what kind of knobs would help you get there?”
Building upon Karl Gerstner’s work, I organize their answers to my implicit questions as a network of working hypotheses about correspondences between the two art forms: painting (or the plastic arts, broadly conceived) and music. These correspondences represent little more, but also nothing less, than interesting hypotheses, areas of possibility, zones of mystery to be explored.
|Harmony||color chords & discords||purity to|
|purity to modulation|