Alessia Cara. The Project. Ten Network. February 27th 2017.
Alessia Cara. The Project. Ten Network. February 27th 2017.
Visual/musical effects in this video clip are a lot like synaesthesia evoked by music. This kind of effect is found quite often in music clips, especially for electronic music, and this type of synaesthesia seems to be one of the more common types, both in terms of how many people experience it and how often it is experienced by individuals. Contrary to what some researchers seem to believe, synaesthesia is not a constant experience. Specific cognitive or sensory stimuli, either from one’s own thoughts or from the world around evoke synaesthesia, and at least for me, not everything that I experience is a synaesthesia inducer, but nothing evokes synaesthesia like good music or interesting music.
The Indian born singer-songwriter who was invited to hang out and jam with Prince. Australian Broadcasting Corporation.
Broadcast: 22/04/2016 on Lateline
Reporter: Simon Smithers
I was just watching Lateline on ABC television (Australian), and following the passing of the legendary American musician Prince Lateline ran a story about the young Australian musician Harts who has been a guest of Prince and has also been mentored by the famous musician. Both musicians clearly share a major influence from the late synaesthete guitarist Jimi Hendrix. In the Lateline story, which is yet to be posted for viewing at the Lateline website, Harts described associations between colours, textures and music that is clearly synaesthesia. It seems to be a very common thing for synaesthetes to experience coloured music, and synaesthesia itself is a quite common phenomenon so the fact that Harts seems to be a synaesthete is not hard to believe or that big a deal. I do think it is interesting though. Harts, Prince and Hendrix all typify the notion of the musically creative individual, as artists following their own creative paths, playing a style of music that is full of colour and innovation and improvisation. Synaesthesia is thought to be linked to creativity. Could even be true.
I’m not an expert in music but I think the music of all three would all be regarded as psychedelic rock, a genre of music that has fascinated me since I was a child despite no cultural nor family influences pushing me in that direction. The music that I grew up listening to was cheesy nonsense that my folks enjoyed, hideous trad jazz, 1970s musicals, theatre organ music, disco….. And I survived! The closest things to psychedelia that I heard as a child was early electronic music and psychedelic rock of the 60s and 70s played on the radio, including the Beatles later stuff. Right until my 5th decade I hadn’t realised I had been a mad fan of psychedelic rock all my life until I started reading music reviews on Allmusic, and found that a the very disparate collection of musicians and groups who are my musical favourites all produced some music that had been categorized as psychedelic, even a favourite Australian musician Ed Kuepper, who I had the pleasure of meeting recently. Colourful as it might be, the colours aren’t the reason why I enjoy this type of music. I think the appeal is the strange and otherworldly feelings evoked by the music; the mesmerizing repetition, the emotionalism, the surprising twists, the fear and the awe. Maybe you need to have a hyperconnected brain to get all this out of mere sequences of sounds.
I’d bet my hat that the colourful and creative purple Prince was also a synaesthete, one way or another, but unless he spoke about it in the past we will never know.
I’d never heard of autonomous sensory meridian response until a few moments ago when I was half-watching the arts tv show The Mix, with a story on it about an upcoming show Blacklist by SuppleFox scheduled for the Dark Mofo arts festival at Tasmania’s always-interesting MONA (Museum of Old and New Art). Synaesthesia is a theme that has already been explored at MONA.
I definitely think some of this ASMR bizzo is one or another type of synaesthesia, and I’m also sure there are folks out there who will insist it impinges on the territory of the various sensory hyper-sensitivity conditions identified by some OTs, and also the controversial territory of autism. I do wonder what the point is, of trying to make art out of neurologically-based phenomena that are highly individualised. Most people are not synaesthetic, at least to the degree that they could score a passing grade in the Synaesthesia Battery, so I’ve got to wonder what all those non-syanesthetes get out of art that explores or uses synaesthesia. If most people do not experience touch sensations in response to watching people running fingers through hair or suffering injuries, and most people get no particular thrill from listening to whispering (which is white and whispy in appearance), then I suspect that art based on these effects will have a limited appeal. It’s quite a conversation-starter, nevertheless.
I find it interesting that in the ABC story about Blacklist video of a person buttering toast is shown, because when I butter toast or scones that triggers a type of synaesthesia in which I “see” in my mind’s eye scenes of places that I have not visited for many years or decades, just as I saw them then. I suspect that for these ASMR people their trigger would be the sound of toast being scraped, while for me the trigger is definitely the performance of the fine-motor movements involved in buttering, with a specificity to such a fine degree that buttering crumbly scones triggers a different set of scenes than buttering toast.
I also find it interesting that one scene in the story, in which a woman lies in a tank of water holding her breath, reminds me of some scenes from one of my absolute favourite films, Mad Detective, in which the main character who is labelled as mad is subversively depicted in the film as strangley gifted with extraordinary powers of perception and insight into the characters and motivations of others (he “sees” their “inner selves”). The mad detective creates experiences for himself that simulate the experiences of murder victims, with the aim of triggering some kind of supernatural shared memory or insight into the facts of the crime. In one scene he has himself rolled down stairs in a suitcase and in another he gets a colleague to bury him in a forrest. The relationship between experiential or sensory triggers and evoked memories or experiences is interestingly similar to the way many of my more interesting varieties of synaesthesia operate, and as a super-recognizer, I’ve got to be fascinated by a protagonist in a movie who has a rare gift of special knowledge about other people. The plot of the movies seems to be very much based on an insight that only a synaesthete would truly understand; that the only way to experience a synaesthesia concurrent (which is usually clearly some kind of memory) is to trigger it by experiencing, first-hand, the exact and specific synaesthesia inducer. It cannot be imagined. It cannot be triggered by any other means. It cannot be experienced by a non-synaesthete, or by a synaesthete who does not have exactly the same synaesthesia association. When the mad detective places himself into extreme situations, he seems to be operating under the same rule; that only the exact same experience can unlock a memory or an insight through perception. I can’t believe that this movie was made without a major contribution from a synaesthete. Another big hint that the main character is some kind of synaesthete is the thing at the start of the film with the highly spontaneous self-amputation of an ear. I hasten to point out that this is not a common behaviour among synaesthetes, and the millions of synaesthetes in the world are generally pretty sane people, but there is one famous person from the past who was unhinged and also one of us. There is plenty of evidence in the archived correspondences of Vincent van Gogh that he was a synaestete. He was always writing about concepts or experiences corresponding with colours. You can’t claim to know the arts without knowing a thing or two about synaesthesia, and synaesthetes.
http://www.abc.net.au/news/abcnews24/programs/the-mix/ (story about Blacklist at around 5.30)
Reflections by Django Django
How could anyone listen to these vocals and not see colours? Sounds like the Dandys, don’t you think?
Fish Heads by Barnes and Barnes
This was one of the clips shown on Rage when Noel Fielding was the host. I didn’t get much sleep that night. We can always rely of Fielding for a good dose of psychedelic nonsense. Don’t be afraid of the fish at the seafood counter, little girl. They aren’t alive.
That’s odd. Both musical groups have names that are the same thing repeated twice. I guess there’s a lot of repetition in psychedelia.
This was the only tune at this year’s Eurovision that had any colour for me:
The unusual, wistful, slightly sad vocals in the song Suture Up Your Future by the Queens of the Stone Age are the same colour as the smell of the classic Guerlain fragrance Shalimar. The general, background colour of the music of QOTSA is black. They have a distinctive, grating guitar sound that is black, and often the vocals evoke in my mind something like a graphic design in black with curly bits, or something like a writing script from the Islamic world in black ink, but in some songs QOTSA vocals can be quite yellow, like a wash of yellow watercolour or a glowing yellow sky, when the vocal sound is gentle or sad or falsetto. The colour of the song Suture Up Your Future is a pale, gentle, unassertive colour which I would describe as a pale version of Naples yellow. This piece of music, the Guerlain perfume and the gentle yellow colour go together as though they were created as expressions of the same thought, the same emotions, in different senses. It’s an experience that seems at first to be quite a weak and gentle thing, but the effect is surprisingly persistent, with a beauty that is, in the end, quite unforgettable. Well, that’s how I see, smell and hear it.
The sea was a big part of my life in my childhood, and memories of the sea are so deeply etched in my mind that it is a theme that comes up over and over again in my synaesthesia, with is an atypical memory-related variation in brain functioning that develops in the earlier years of childhood, around 5 or 6 years. At that age, all I wanted to do was swim. I experience the well-known types of synesthesia triggered by listening to music – colours, simple visuals, spatial concepts and abstract concepts, and I also experience aspects of the sensory experience of swimming in the ocean when listening to some pieces of music. Anti Gravity from the Avalanche CD by the amazing Aussie band British India is a very evocative song for me, I think because of the way that it surges and crashes, like waves in the sea. I become immersed in the music, I swim in it, and parts of it are most definitely a deep blue-green colour. Be sure to swim between the flags!
I wouldn’t know about this piece of pop music if we didn’t have any teenager in our family. I don’t know a thing about this band, except that they are probably young and talented. When I heard the sound of this tune floating out of one of the bedrooms of our house I wondered if it might be Tame Impala. This tune struck me as a bit psychedelic because of the colour in the chorus, with its wooo wooo wooo style of singing, which is the kind of thing that you might find in the chorus of a psychedelic song. The colour is a pleasant light mauve-grey, rather like the colour that is currently in the background of this blog.