FEELINGS AS A TOOL TO REVEAL THE CONNECTION BETWEEN EXPERIENCES OF LIGHT COLOR AND INSTRUMENTS SOUND
Author
Protopapadaki, Elli
Term
4. Term
Education
Publication year
2024
Submitted on
2024-05-24
Pages
65
Abstract
Denne kandidatafhandling undersøger, hvordan lysfarver påvirker den følelsesmæssige oplevelse af instrumentalmusik, og bruger følelser som bindeled for at afdække forbindelser mellem visuelle og auditive stimuli. Projektet er motiveret af forfatterens lysinstallation Hypnotic Chandelier ved Distortion-festivalen samt erfaringer fra BOA Light Studio i Paris og inspiration fra Iannis Xenakis’ Polytopes. Afhandlingen introducerer en triangulær ramme, der forbinder lysfarve, lyd og følelser, med en hypotese om, at varme farver fremkalder mere energiske reaktioner, mens kølige farver virker mere beroligende. Metodisk kombineres litteratur om synæstesi og historiske referencer (bl.a. Kandinsky, Vivaldi og Van Gogh) med casestudier af lys-lyd-værker og tre sammenhængende eksperimenter: (1) vurdering af følelser fremkaldt af rødt, gult og blåt lys, (2) vurdering af følelser ved kombinationer af de samme lysfarver med instrumentlyde (violin, klaver, trombone) og (3) identifikation af farver associeret med instrumentlyde. Emotionalitet analyseres bl.a. gennem arousal-valens-perspektivet og resultaterne sammenholdes med litteraturen for at kortlægge mønstre mellem farve, lyd og følelser. Uddraget indeholder ikke detaljerede resultater, men studiet sigter mod at give indsigt i samspillet mellem lys og musik og at informere udviklingen af fremtidige multisensoriske miljøer.
This master’s thesis explores how light colors influence the emotional perception of instrumental music, using feelings as a bridge to reveal links between visual and auditory stimuli. The work is motivated by the author’s Hypnotic Chandelier installation at Copenhagen’s Distortion festival, experience at BOA Light Studio in Paris, and inspiration from Iannis Xenakis’ Polytopes. A triangular framework connects light color, sound, and feelings, guided by the hypothesis that warm colors elicit more energetic responses while cool colors promote calmer states. The methodology combines literature on synesthesia and historical references (including Kandinsky, Vivaldi, and Van Gogh) with case studies of light–sound artworks and three interconnected experiments: (1) assessing feelings evoked by red, yellow, and blue light, (2) assessing feelings when these light colors are paired with instrumental sounds (violin, piano, trombone), and (3) identifying colors associated with instrumental sounds. Emotional responses are analyzed through an arousal–valence lens and compared with prior literature to map patterns among color, sound, and feelings. Detailed results are not included in this excerpt, but the study aims to clarify how light shapes music perception and to inform the design of future multisensory environments.
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