THESIS TITLE
Transcultural Synaesthesia: Visual and Musical Experiment Across Cultural and Sensory Planes, by Lachlan, R.-L., James
Cook University, Townsville. 1995. (Two volumes.)
ABSTRACT
This study has sought to develop a methodology for artistic practice which is both transcultural and synaesthetic, producing a model involving the synthesis of visual expression, musical expression and the integrative, non-appropriative processing of culturally significant ideas and creative systems from cultures other than an artist’s own. Implicit in this model is the intention respectfully and sensitively to blend trans-cultural influences in the creative arts. This is an important global issue for the creative arts; economic and Tourist contact have resulted in western plagiarism of traditional cultures’ sacred, artistic and musical products.
As a specific test case, the creative work and research explore ancient Indian and East Asian references to correlation between coloured light and sound. Indian metaphysical textual sources provide imagery and colours explored in the visual work and linked to correlative of music. Traditional Japanese Inc painting and instrumental techniques have been adapted for the execution of the visual and musical work. Necessarily, the bases for colour-pitch correlations and the relationship between Indian, Chinese and Japanese creative systems have been explored. Of particular interest have been Visual and musical symbolism associated with systems construct it on the number five , including the Indian textual sources inspiring the research and artistic work and the Chinese concept of five agents which implicitly underpants Japanese pentatonicism.
The outcome is an integrated corpus of work comprising an exhibition of the visual work, correlative music executed on koto, shamisen, and other Asian-like instruments, a video document, and a research thesis. Implications of the study for the creative arts, for further research, and for creative practice our extrapolated from evaluation of process, it's ultimate culmination, and reflections on these.
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Volume II may NOT be accessed.
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