In lieu of an abstract, here is a brief excerpt of the content:

Fig.5. Xu Zheng Qiang, pictographic charactem:(toprow, left to right)a person carryingrice, autumn, light; (secondrow)a cock crowing, moonlight,stam; (thirdrow)amale and a female,awoman feedinga chicken,a couplechatting at home; (bottomrow)a man plowinga field w i t h twobulls. a personharvesting rice. ure in Dongba culture and an ancestor of the Naxi, are portrayed in this painting. The five pupils hold bamboo brushes sent to them by a golden deer. Inspired by a bluebird, they are facing a rough bark book. The background of the painting consists of Dongba pictographic characters that depict a person carrying rice, autumn, light, a cock crowing, moonlight, stars, a male and a female, a woman feeding a chicken, a couple chatting at home, a man plowing a field with two bulls, and a person harvesting rice (Fig. 5). method used in Dongba paintingsthrough exaggeration of the Dongba pictographs. In it, I sought to make expressive images come alive without striving at realism-ultimately producing mysterious illusion. Soft shades of grey contrast with darker, deeper colors. Five figures are set in a chaotic composition against a pale yellow background. The most significant image is of a powerful dance. This is a dance of sharp and syncopated movements. With this painting, I strived to give the viewer a sense of something primitive and ancient yet also of something new. I see the cultures of ethnic minorities and ancient peoples as sources of inspiration as well as important influences on contemporary aesthetics. In this way, through my painting, the golden brush is used to speak the heart’s story. I created this painting to illustrate the SYNESTHESIAAND MUSICAL SPACE: O N YAVORSKY‘S FORGOTTEN HYPOTHESIS AND A PROPOSAL FOR AN EXPERIMENT IN ZERO GRAVITY Bulat M. Galeyev, KAI, SKB “Prometei,” K. Marksa Str. 10, Kazan 420111, Russia. Received 29 May 1991. Acceptedfor publication by RogerF. Malina. The concept of synesthesia, as a psychophysical phenomenon, can be characterized briefly as intersensory, intersensual association. As I have pointed out before, synesthesia is an essential sign of artistic thinking (for all kinds of art, including music) [11. It should be particularly emphasized here that not only may exteroceptive sensations (externally stimulated sensations such as hearing, sight, etc.) act as components of synesthetic interrelationships (Fig. 6), but interoceptive and proprioceptive (internally generated) sensations may also contribute. In Fig. 7, points 0,and 0, represent interoceptive and propriocep tive sensations, respectively. The interoceptive receptors register the state of internal organs-well-being, for instance-and proprioceptive sensations yield such information as the position of the body in space (including muscular and weight sensations). Interoceptive sensations act on the unconscious, and they are tied to our most basic emotions. These sensations are ancient and are part of the psychologies of all people-that is why interoception-based synesthetic phenomena are the most powerful of all emotional components.This is reflected in the broad usage of such synesthetic terms as “bright”and “dark,”in reference to sounds, and “warm”and “cool,”in reference to colors [2]. In the past, investigatorsdid not pay particular attention to the importance of internal sensations in the original theories of synesthesia; they generally limited themselves to studying more exotic exteroceptive intersensory relationships (such as “color hearing”in music). However, the presence of less noticeable, “dim”sensations (to use I. Sechenov’sterm) determines more widespread intersensual relationships. When we discussaudio synesthesias, such synesthesiasare relationships between “hearing”and proprioceptive sensations (point 0,in Fig. 7). Analogies between melody and mechanical motion are tied to the above-mentioned audio-proprioceptive synesthesias.These analogies may be quite interesting-for instance, theories on the “kinetic energy” of sound, by E. Kurt [3]; on “sound body”and “sounding matter,”by B. Asafiev [4]; and, especially,on “audio space,”by G. Revesh,A. Wellek and E. Nazaikinsky [5]. Audio space may even have its own coordinates: depth (texture),vertical (melodics),horizontal (architectonics of music pieces as a whole). In my opinion, the study of another, still hypothetical synesthetic analogybetween perception of terrestrial gravity and modal gravity in music (suggested as far back as the 1920s by B.L. Yavorsky [6]) can help to deepen comprehension of the nature of the audio...


Additional Information

Print ISSN
pp. 76-78
Launched on MUSE
Open Access
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.