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Location: UFOUpDatesList.Com > 1999 > Jan > Jan 12

Re: Fox TV Special

From: Greg Sandow <gsandow@prodigy.net>
Date: Tue, 12 Jan 1999 12:18:35 -0500
Fwd Date: Tue, 12 Jan 1999 13:39:05 -0500
Subject: Re: Fox TV Special

>From: Ed Fouche <http://fouche@connecti.com>
>To: UFO UpDates - Toronto <updates@globalserve.net>
>Subject: RE: UFO UpDate: Re: Fox TV Special
>Date: Mon, 11 Jan 1999 14:56:06 -0600

>Ed adds: From the
>book, 'Color Practice' by Charles Klotsche, "Dinshah calculated
>the equivalent sound vibration for each of his twelve colors.

>For instance, the basic frequency or vibration of the color Red
>is 436 trillion cycles per second. To arrive at a comparable
>vibration in the audible range (reducing the vibrations from
>visual to audible) Dinshah divided the basic color frequency by
>two, 40 times. That results in 392 for Red, or the musical note
>G. Through this calculation we find that the corresponding sound
>is in the range of the ninth theoretical octave - that is, 40
>theoretical octaves below the color vibration of the visible

"Theoretical" is the operative word here. You can perform any
arithmetic you like, but you're still making a personal,
arbitrary choice. There's still no physical relationship between
light and sound.

>Others have taken this method further, generating color from a
>musical synthesizer for rock concerts, art forums, and
>entertainment. There is a software program that uses his
>formulas to produce myriad of colored fractals from music.

Yep. It's all a lot of fun, but has no deep meaning.

>>Musical notes don't generate colors. The vibrations of sound-
>>relatively slow vibrations of air molecules-have no relation
>>to light. There's no way at all to translate the wavelengths of
>>sound into light. If you play a note, no color physically
>>appears in the air or in your eye. Musicians often associate
>>musical notes with colors, but it's well known that they never
>>agree on which colors correspond to which notes. The association
>>of notes and colors is entirely subjective.

>Ed adds: The human brain can do this.

>There is a phenomena known as Synesthesia. A person with this
>disorder can see specific colors when hearing specific notes.
>Say, C sharp would be blue, and F flat would be red, etc. Other
>variations of synesthesia (Greek: syn -together / aisthanesthia
>-perceive) can cause a touched color to be tasted, heard, or
>smelled by the person with this disorder.

>The question is, is this a genetic disorder or did early humans
>have this ability. Do some animals have this ability, I don't
>know. Synesthesia is described in detail in, 'A Natural History
>of the Senses

> By Diane Ackerman.

I think synesthesia is most fun when is gets into the less
quanitifiable, more subjective senses like touch and taste.

There's no doubt that sounds and colors can be linked via
synesthesia. But the links are completely arbitrary, as I've
been saying, and entirely subjective. No two musicians agree on
them. C sharp for me is whitish silver, but I wouldn't expect my
colleagues in the music biz to say the same thing. My own
associations for F flat would be pretty murky -- a shadowy
yellowish tan, maybe. It would be a vague and murky color
because you don't run into an obscure note like F flat every day
of the week. Only in the key of D flat minor (which most
composers would write as C sharp minor)....or in some passages
in Verdi operas. Verdi, who in his early and middle works has a
reputation as a fairly simple composer, could create really
hairy arrays of flats when he's already in a flat key, and
modulates even further in that direction. Take the Sleepwalking
Scene in Macbeth. It's in D flat major, and modulates to the
flat sixth. That's a common modulation, and in simple keys, it's
very straightforward to notate. In C major, you simply go into A

In D flat, the simplest thing would be to notate the new key as
B major. But not Verdi! He's a stickler for technical accuracy,
and writes the new key as C flat, just bristling with
accidentals. So there you do run into that elusive note, F flat
(normally simply written as E). The scale of C flat major goes
like this: C flat, D flat, E flat, F flat, G flat, A flat, B
flat, C flat. You don't see that one every day of the week! (And
if you inserted a C flat minor chord, suddenly you'd have an E
double flat!)

But I digress.

Greg Sandow

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