RESEARCH METHODS PACKAGE

Name: Vasilis “Billy” EconomidisStudent number: 1209765

Course: Graphic Design & Communication

Unit leader: Damian Chapman

Epsom 2013

HOW HAVE NOTES BEEN TRANSLATED INTO COLOURS IN THE ABSTRACT WORKS OF WASSILY KANDINSKY:

AN EXPLORATION OF THE UNDEFINED LINK BETWEEN MUSIC AND THE VISUAL ARTS.

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case study p.4

critical appraisal p.46

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y “how have notes been translated into colours in the abstract works of Wassily Kandinsky: an exploration of the

undefined link between music and the visual arts.”

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“Our hearing of colours is so precise ... Colour is a means of exerting a direct influence upon the soul. Colour is the keyboard. The eye is the hammer. The soul is the piano with its many strings. The artist is the hand that purposely sets the soul vibrating by means of this or that key. Thus it is clear that the harmony of colours can only be based upon the principle of purposefully touching the human soul.” (Kandinsky, 1911)

Fig. 3. Kandinsky’s Fugue (1914)

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This case study focuses primarily on the research methodology that has been used in order to answer “how have notes been translated into colour in the abstract works of Wassily Kandinsky”. The exploration of the selected topic serves as a lens to examine, analyse and evaluate the research methods used in order to collect, edit and present the required data.

The main idea of this case study is based on the notion that there is a cosmic connection between music and colour. Off course the idea of the existence of such a link or correspondence is not a new one. The originality of this case study is established on the fact that it is based on a verified case rather than a subjective theory. This case is synaesthesia which Kandinsky was believed to have had. Synaesthesia is a scientifically proven condition that allows a person to appreciate sounds, colours or words with two or more senses simultaneously.

While addressing the central question of this case study, the researcher will examine interdependent subjects such as the effect of synaesthesia in artistic work and the the theoretical/philosophical approaches that possibly influenced the Russian painter.

Major importance is given to the theories that underpin and define the nature of the conducted research as well as the description of the actual research process that resulted in the projected outcomes. The main focus of this essay is the research process rather than the actual findings.

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abstract

1. introduction

1.1. syllogism (generating and refining the research idea)

1.2. focus

1.3. developing the research questions

1.4. defining the nature of the research

(research philosophies and approaches)

1.4.1. type of research: qualitative

1.4.2. methodology: ethnographic approach

1.4.3. research approach: Inductive

1.4.4. research paradigm: constractivism

1.4.5. research philosophy: epistimology

1.4.6. learning objectives:

methodological skills and processes, substantive

1.5. aims and objectives

2. research methods

2.1. The “bricoleur” approach

2.2. choosing the appropriate research methods

2.2.1. primary research methods

2.2.2. secondary research methods

2.3 theoretical models

2.4. philosophic insights

3. data management

3.1. evaluation of methods and sources

3.2. organising the collected data

4. products of inquiry

4.1. introduction

4.2. how have the notes been translated into colour

in the abstract works of Wassily Kandinsky?

4.3. the effect of synaisthesia on artistic work

4.4. philosophical/theoretical approaches

5. conclusion

bibliography

list of figures

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CHAPTER 1. INTRODUCTION

Kandinsky articulated emotions that associate with synaesthesia very often. This is what he had to say at a performance of Wagner’s opera Lohengrin in Moscow in 1913:

“I saw all my colours in spirit, before my eyes. Wild, almost crazy lines were sketched in front of me.”

Inspired by Wagner’s concert he completed one of his most important works, “Composition VII”, in three days.

Fig. 4. Kandinsky’s Composition VII (1913)

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1.1. Syllogism (Generating and refining the research idea)

The train of thought towards the decision on what this case study focuses on is as follows:

The initial concept behind the choice of this case study’s topic was finding a rational basis for linking sound with image and exploring it. Since sound and image are too vast a field to address, it had to be narrowed down to their artistic subcategories. Music and visual arts, being the two prevailing art forms historically, have been two of the main subjects of study, research and analysis throughout the years. The bibliography on works of art, art movements and their exponents is endless. However there seems to be a disproportionately small amount of available data on how these two art categories can be linked, which was one of the reasons the specific field was chosen. Nonetheless there is a mutual understanding amongst everyone blessed with the senses of sight and hearing that contributes to the argument that there is indeed a cosmic connection between those two fields. Music and visual arts share the ability to evoke similar feelings. This is supported by the fact that music is often portrayed with terms that are meant to describe images and vice versa. For example we say “the blues” referring to jazz or soul music. We say that a song or a melody can be “dark” or that a tie can be “loud”.

In order to be able to challenge the problem it had to be more clearly specified and focused as the author came to understand after consulting with his supervisors. Music and visual arts were narrowed down even further to their core elements, musical notes and colours. The idea that there is a link or correspondence between notes and colours is a very old and very persistent notion amongst theorists. There have been repeated attempts by philosophers to define it. There are some very interesting theories but most of them are subjective and are not supported by scientifically proven facts. This case study had to ideally be based around a solid

fact that somehow proves the connection between music and colour. This fact was a rather intriguing mental condition, that even though it can be characterized as a disorder, is a scientifically proven case that links music and colour named synaesthesia. Synaesthesia is a harmless condition that allows a person to appreciate sounds, colours or words with two or more senses simultaneously. It has been proved, by a group of neuroscientists, that synaesthetes do indeed “see” sound. A series of brain scans showed that, despite being blindfolded, synaesthetes showed “visual activity” in the brain when listening to sounds.

Wassily Kandinsky, one of the author’s favourite painters, was believed to have had synaesthesia. In his case, colours and painted marks triggered particular sounds or musical notes and vice versa. Kandinsky’s paintings, because of his condition, were profoundly complex and visually stimulating, with colour combinations that reverberate. His curious gift of colour-hearing, which he successfully translated onto canvas as “visual music”, to use the term coined by the art critic Roger Fry in 1912, gave the world another way of appreciating art that would be inherited by many more artists throughout the rest of the 20th century.

The author finally settled on naming this case study: “ How have notes been translated into colours in the abstract works of Wassily Kandinsky: An exploration of the undefined link between music and the visual arts”.

Fig 5. Mindmap of the train of thought that led to the the main idea and (the title) of the case study (Author, 2012)

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1.2. Focus

This essay focuses primarily on the research methodology that has been used in order to tackle the selected subject. Examining how notes are translated into colours in Kandinsky’s paintings and therefore the link between music and the visual art can accordingly serve as a lens to explore, analyse and evaluate the research methods used in order to collect, edit and present the required data. In other words the main focus of this essay is the research process rather than the actual findings.

To borrow the words in one of the essential reading books suggested by the cource’s supervisors: “If research is a process, then learning about research is about learning how to research. We could almost say that the process is more important than the product- the journey is more interesting thatn the destination. Knowing how to research is perhaps much more valuable than finding out a particular thing, gaining a particular piece of knowledge... The aim of methodology is to help us understand, in the broadest possible terms, not the products of the inquiry, but the process itself” (Gray & Malins, 2004).

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The initial approach to the topic was too broad. After a repeated re-shaping of the questions, the course supervisors helped towards significantly thinning the original problem since “the importance on focusing on specifics is major”(Gray-Mallins, 2004).

After the main research question was decided, the process of developing further questions took a reverse course. Instead of going from a bigger scale to a smaller one, the central question was the basis for other relevant questions to be developed which would help in creating a comprehensive final argument. The process is illustrated in figure 6.

Brainstorming and mindmapping proved essential tools in this section. The The visualising of the researcher’s thoughts lead to a range of clearly defined questions. They were reduced to the three research questions that seemed essential in order to challenge the chosen topic: - How are musical notes translated into colours in the work of Wassily Kandinsky?- How does synaesthesia affect the work of artists who have it? - How has Kandinsky been influenced by philosophical/theoretical insights?

1.3. Developing the Research Questions

Fig. 6. Mindmap illustrating the process of developing the research questions (Author, 2012)

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1.4.1. Type of research : Qualitative

The choice of research methods to be used is one of the most important decisions while addressing a research problem. The initial question to be answered is whether ones research questions can more appropriately be answered by quantitative or qualitative research. The argument of this case study, being a “how” question and regarding a rather theoretical topic, is subject to qualitative research as Silverman suggests (2010). The qualitative methodology is the “what is it like” facet of research which is concerned with “images, feelings, impressions and qualities”(Bouma, 2000). In qualitative research, the researchers develop and pose their own theories and hypothesis- rather than testing and proving existing ones.

1.4. Defining the Nature of the Research (Research Philosophies and Approaches)

Defining the nature of one’s research project is essential when developing a case study. Collins (2010) suggests following a structured approach which will enable the researcher to “tackle their project in sequential stages” in order to make it more manageable. This case study follows an adjusted version of the proposed structure by Collins which she calls “Layers of Research”.

Fig. 7. Collin’s Layers of Research (2009)

Fig. 8. Qualitative and Quantitative research methods (UCA “research” handbook 2012)

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1.4.2. Methodology: Ethnographic approach

The methodology applied in this case study is ethnographic approach, a qualitative research design aimed at exploring cultural phenomena. The general methodology refers to how one goes about finding out knowledge and carrying out their research. It is one’s strategic approach, rather than their techniques and data analysis

(Wainright, 1997)

1.4.3. Research Approach: Inductive

The research approach to be applied is inductive as Collins (2010) proposes. Induction is the appropriate approach for qualitative based research. It focuses on developing a theory as a result of the collected data in contrast with a deductive research approach where the researcher has to initially develop a theory and test it.

1.4.4. Research Paradigm: Constractivism

This case study aims to challenge the selected questions through constactivism. This approach, in opposition to positivism, enables the author to construct new ideas or concepts based upon past/current knowledge. This case study is set out to contribute to knowledge. Through answering the defined questions it aims to provide the reader with a different perspective when it comes to experiencing music and visual art. In other words this research has a critical nature. (Guba, 1990)

1.4.5. Research Philosophy: Epistimology

The research philosophy that underpins this case study is Epistimology. Epistimology is “the branch of philosophy that studies the nature of knowledge, its presuppositions and foundations, and its extent and validity”. (Collins 2010)

1.4.6. Learning Objectives: -Methodological Skills and Processes-Substantive

The primary learning objectives of this paper can be narrowed down to two of the four learning objective types (Substantive, processual skills and concepts, methodological skills and processes, self-knowledge) as defined by Collins (2010). This essay focuses on the way the research is undertaken by using methodological skills and processes since this project’s main aim is for the author to refine their research skills and gain a critical understanding of how to collect, evaluate, edit and present data in an academic manner/fashion. Furthermore this essay is set out to provide substantive learning material and give new insights on the selected field of study.

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1.5. Aims and Objectives

This case study aims at exploring a very interesting, yet somewhat ignored, subject. It intends on gathering all the hitherto available knowledge on the topic, examining all the different perspectives and finally presenting a comprehensive and conclusive argument. While addressing the selected topic, the case study focuses on the research methods used, in order to answer the research questions. The nature of the conducted research, the research process and the management of the collected data is thoroughly documented and described.

When it’s all done, the author is hoping to be able to present an inclusive paper, answering “how has music been translated into colour in the abstract works of Wassily Kandinsky” and the secondary interdependent questions, focusing on the conducted research and giving new insights.

CHAPTER 2. RESEARCH METHODS

“ ...I applied streaks and blobs of colours onto the canvas with a palette knife and I made them sing with all the intensity I could... “

(Kandinsky 1911)

Fig. 9. Kandinsky’s Increasing (1933)

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2.1. The “Bricoleur”: Collage and Construction Research Approach (Gray & Mallins)

Researching a problem with several different methods enables a thorough understanding into questions to be answered, given that “the more information we have from different perspectives the more able we are to test our ideas” (Gray & Malins 2004).

This research approach , initially described by Brewer and Hunter (1989) suggest that qualitative research essentially employs a multi-method approach. By adopting a multi-method approach, the qualitative researcher uses a set of interpretative practices, and has been described as a “bricoleur” - a kind of professional do-it-yourself researcher (Denzin and Lincoln, 1994).

The author has decided to use a broad range of primary and secondary research methods and practices with the intention of coming up with a “bricolage”, a complex, dense, reflective, collage-like creation that represents the researcher’s images, understandings and interpretations of the world. Despite working between and within competing and overlapping perspectives and paradigms the case study aims to be a “coherent developmental set”(Gray & Malins 2004).

The multi-method approach that has been used is alternatively defined as a “multi-methods qualitative study” by Collins (2010).

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The initial action taken was the conduction of an initial secondary research in order to identify the main sources of information to be selected that will eventually be able to answer the set questions of this case study. This initial research resulted in finding Kandinsky’s writings which answered a big part of the questions. The fact that the Russian artist, besides being a monumental painter, was also a very important art theorist was a major advantage for the researcher. Having available books and manuscripts that include his theories which describe as well as underline his work from Kandinsky’s point of view, made the conduction of interviews seem not a basic priority. It was doubtfull that a researcher could address the subject better than Kandinsky himaself. However, there were attemts to secure possible interviews with the curator of Kandinsky’s latest exhibition in Tate Modern (2006) as well as with the authors of “Kandinsky: The path to abstraction” , a book based on the same exhibition, that were unfruitful. The research was bound to focus on collecting and evaluating the secondary research data available on Kandinsky’s work, synaesthesia, and the theories that underpin the link between music and the visual arts. The primary research methods were mostly usefull in gaining a general understanding of the link between music and colour as addressed by various artists.

2.2.1. Primary research methods

- Observation:

To watch and accurately record relevant to the case study data(Gray & Malins 2004).The main source for gathering information via observation in this case study will be museums and exhibitions that address the topic of linking visual art and music. The author had the opportunity to attend a very interesting exhibition in Tate Modern: A Bigger Splash: Painting after Performance. This exhibition included the work of artists trying to relate painting and performance arts (among them music). This experience addressed the link between music and painting from various perspectives.

- Brainstorming and mind mapping:

Brainstorming and its direct documentation, which is mind mapping, are essential tools in terms of organising the random and abstract thoughts that come in one’s mind. Brainstorming and mind mapping proved very useful especially when designing the research problem.

- Discussions with supervisors and fellow students:

It is very important for a researcher to listen to what other people have to say about their case study. Discussions with supervisors and students are essential in refining one’s ideas. They can make one examine different points of view, have their work reviewed and receive constructive feedback.

2.2. Choosing Appropriate Research Methods

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2.2.2 Secondary Research Methods

The secondary research has to be divided in two sections: The first one covers the literature and the online resources that examine the research aspects of the case study. It consisted mainly of the books included in the reading lists provided by the project’s supervisors. Those books directed the author towards gaining an understanding of the theories, the basic terminology, the different approaches and philosophies of research and more importantly of practical matters to be considered when conducting research. The second section of the secondary research covered the selected topic. It included literature, online resources as well as relevant videos and documentaries found online. The main aim of this research was to expand the author’s knowledge on the subject and provide a sufficient amount of data in order for the decided questions to be answered. An evaluation of the primary and secondary research methods is given in a following chapter (page 23).

Fig. 10. Flicklin’s “Painting” of the sequences of the song “Come as you are” by Nirvana, using a rendering algorithm, which translated sound to colour. TED.COM talks: New ways to see music (with colour and fire). (2012)

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The two theoretical models which were believed to be more appropriate for this research were the Kolb’s cycle of learning (1984) and Del Bono’s six thinking hats (1985).

It is understood that those two models can be defined as means of planning one’s thinking process. They are directly applicable to every stage of research regardless of the research methods to be followed and were consequently used throughout the creation of this case study. Kolb’s and Del Bono’s theoretical tools proved very efficient in generating ideas and refining them. They helped the researcher see things from different perspectives, deconstruct concepts and think -as a natural result- outside the box.

2.3. Theoretical Models

Fig. 11. Del Bono’s Six thinking hats (1985)

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Fig. 12. Kolb’s (1984) Cycle of Learning (adapted by author 2012)

2.4. Philosophic insights The link between music and colour has a wide theoretical base emerging from philosophy. Many important philosophers and theorists have tackled the topic. In this case study, philosophy will serve as a lens to explore Kandinsky’s beliefs which are not based on his intuition. All the relevant views on the subject will be examined and compared in order to gain an understanding of the problem from different perspectives.

CHAPTER 3. DATA MANAGEMENT

Fig. 13. Kandinsky’s Horizontals (1939)

“Of all the arts, abstract painting is the most difficult. It demands that you know how to draw well, that you have a heightened sensitivity for composition and for colors, and that you be a true poet. This last is essential.”

(Kandinsky, 1926)

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3.1. Evaluation of the Research Methods

3.1.1. Primary research

The conducted primary research had several goals. Through attending exhibitions, it focused on gaining a thorough understanding of the examined subject and witness various perspectives (from different artists) on the topic of linking music and visual art.

Very important parts of the primary research were the discussions with the researcher’s supervisors as well as fellow students in order to receive suggestions and feedback on the development of the case study.

Another part of the primary research was the organising of the author’s thoughts via brainstorming and visualizing of the ideas, tools that proved very useful.

Fig. 14. Tate’s poster of : A Bigger Splash: Painting after performance (2012) (Detail from Hockney’s (1967) A Bigger Splash)

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3.2.2. Secondary research

Secondary research was the major part of this case study. It was divided in two sections as stated earlier. The first section focused on the actual process of researching. The second section aimed at answering the decided questions of the selected topic. The evaluation of the literature used in this case study is presented in the following tables:

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3.2. Organising the Collected Data In qualitative research the analyzing and the organising of data is a very important process. It’s main goal is the interpretation of that data. However a researcher must not only interpret the data but to describe and justify the process (Collins , 2010).

The initial task to be completed in order to organise the collected information is creating a database of it and separate it into sections. Resultingly, the researcher has the opportunity to see all the different perspectives they have collected, edit them and present them accordingly. For example the basic question of the case study was answered through the organization of the relevant data on how Kandinsky translated music into colour. That data came from several different sources. Books, articles and internet sites. However every source did not answer the question in the same way. There were many theories and notions that overlapped. This is when the researchers have to apply their own judgment in order to present a clear and coherent set of projected outcomes.

Fig. 15. Managing data (Gray & Malins, 2004)

CHAPTER 4. PRODUCTS OF INQUIRY

Fig. 16. Kandinsky’s Lithograph for the Fourth Bauhas Portfolio (1922)

“The impact of the acute angle of a triangle on a circle produces an effect no less powerful than the finger of God touching the finger of Adam in Michelangelo.”

(Kandinsky, 1926)

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While the idea of musical analogy in painting originated in the late nineteenth century, the full potential of this revolutionary concept was not achieved until the early twentieth century when European and American artists, began to “compose” abstract paintings that emulated the aesthetic of purity of music. The idea that painting should emulate music, through its experimental works and theories, surpassed artistic movements and styles and geographic and cultural categories to coalesce into a loosely allied, international artistic phenomenon.(Brougher 2005) The turn of the last century was characterized artistically by this phenomenon and Wassily Kandinsky was the true leader of this essential revolution. His work crossed traditional boundaries to integrate different modes of artistic expression inspiring important artists like Klee and Mondrian.

Until then the nature of painting was purely representative. Arthur Schopenhauer’s claim that music was the only art that did not merely copy ideas or images, but actually embodied the will itself, was the dominant one. Kandinsky with his work and theory came to contradict the major philosopher. He invented the first painting for painting’s sake and not for the sake of informative make-believe as had been the ideal of the past. Abstraction was no longer an expressionist offshoot but readily open to a high degree of structural control without the danger of mere pattern making (Behr 2006). The concept was based on the following question: If music is abstract and survived all these centuries based entirely on its self imposed system of construction why not painting?

This massive phenomenon came to be baptized in 1912 when Roger Fry was among the first to coin the term “Visual Music” to describe works of art that “give up all resemblance to natural form, and create a purely abstract language of form- a visual music”. Underlying this was a belief in synaesthesia that is the “blending of senses”(see pages 36 and 67).

There is still debate whether Kandinsky was a natural synaesthete, or merely experimenting with this confusion of senses in combination with the colour theories of Goethe and other major philosophers he had studied, in order to further his vision for a new abstract art. Kandinsky himself stated that his correspondences between colours and musical timbres have no “scientific” basis, but were founded upon a combination of his own personal feelings, current prevailing cultural biases, and mysticism (Ward 2006).

Regardless of whether he was a natural synaesthete, impossible to prove scientifically at the time, Kandinsky sought to create work that would generate associations between music and colour. The great Russian painter and theorist voiced his belief when he claimed in “On the Spiritual In art”(1911) : “Musical sound has direct access to the soul. It finds there an echo, for man ‘hath music in himself”.

4.1. Introduction

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4.2. How have notes been translated into colours in the abstract works of Wassily

Kandinsky? In order for the main case study question to be answered, a number of “phenomena” as Kandinsky describes them in his books, when referring to the components of a painting, will be investigated. The majority of the presented data emerged from Kandinsky’s two books (He states that the second one is the continuation of the first) “ Concerning the Spiritual in Art” and “Point and Line to Plane” first published in 1911 and 1926 consecutively.

He wrote extensively about the theoretical and technical elements of his art. All the “phenomena”, however, will be described from their “basic sound” and “music” point of view. Kandinsky’s intriguing theories regarding the varying nature of the “phenomena” will not be discussed in this case study. Their analysis focuses on the correspondence between colour and music.

One of the main ideas to be acknowledged initially, is the division “canvases” of the two arts which is clear and apparent. For painting that is space (plane) and for music that is time.

The main parallelisms in Kandinsky’s writings address the link between colours and musical instruments and notes. Kandinsky’s description of colours and their associations with music are -like his artwork- vivid, illusory and poetic. This is why the author decided to avoid paraphrasing and plainly quote the great painter:

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“Blue is the typical heavenly colour. When it sinks almost to black, it echoes a grief that is hardly human. When it rises towards white, a movement little suited to it, its appeal to men grows weaker and more distant. In music a light blue is like a flute, a darker blue a cello; a still darker a thunderous double bass; and the darkest blue of all-an organ.”

Fig. 17. Kandinsky’s In Blue (1925)

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“Yellow, if steadily gazed at in any geometrical form, has a disturbing influence, and reveals in the colour an insistent, aggressive character. The intensification of the yellow increases the painful shrillness of its note.”

“Light warm red has a certain similarity to medium yellow, alike in texture and appeal, and gives a feeling of strength, vigour, determination, triumph. In music, it is a sound of trumpets, strong, harsh, and ringing.”

Fig. 18. Kandinsky’s Yellow, Red, Blue (1925)

“This world is too far above us for its harmony to touch our souls. A great silence, like an impenetrable wall, shrouds its life from our under-standing. White, therefore, has this harmony of silence, which works upon us negatively, like many pauses in music that break tempo-rarily the melody. It is not a dead silence, but one pregnant with pos-sibilities. White has the appeal of the nothingness that is before birth, of the world in the ice age.”

Fig 19. Kandinsky’s On White (1923)

“A totally dead silence, on the other hand, a silence with no possibilities, has the inner harmony of black. In music it is represented by one of those profound and final pauses, after which any continuation of the melody seems the dawn of another world. Black is something burnt out, like the ashes of a funeral pyre, something motionless like a corpse. The silence of black is the silence of death. Outwardly black is the colour with least harmony of all, a kind of neutral background against which the minutest shades of other colours stand clearly forward. It differs from white in this also, for with white nearly every colour is in discord, or even mute altogether.”Fig. 20. Kandinsky’s Black Spot (1929)

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Green: “The green keeps its characteristic equanimity and restfulness, the former increasing with the inclination to lightness, the latter with the inclination to depth. In music the absolute green is represented by the placid, middle notes of a violin.”

“But there remains brown, unemotional, disinclined for movement. An intermixture of red is outwardly barely audible, but there rings out a powerful inner harmony. Skillful blending can produce an inner appeal of extraordinary, indescribable beauty.”

Fig. 21. Kandinsky’s Colour studies with technical explanations (1913)

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“Violet is therefore both in the physical and spiritual sense a cooled red. It is consequently rather sad and ailing. It is worn by old women, and in China as a sign of mourning. In music it is an English horn, or the deep notes of wood instruments.”

Fig. 22. Kandinsky’s Dominant violet (1934)

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“The vermilion now rings like a great trumpet, or thunders like a drum. A parallel in music are the sad, middle tones of a cello. A cold, light red contains a very distinct bodily or material element, but it is always pure, like the fresh beauty of the face of a young girl. The singing notes of a violin express this exactly in music.”

“Orange is like a man, convinced of his own powers. Its note is that of the angelus, or of an old violin.”

Fig. 23. Kandinsky’s Composition IX (1936)

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Synaesthesia is a truly fascinating condition. In its simplest form it is best described as a “union of the senses” whereby two or more of the five senses that are normally experienced separately are involuntarily and automatically joined together (Wannerton 2011). The type of synaesthesia that is discussed in this case study is the sound/colour synaesthesia or “chromaesthesia”. Richard Cytowic , an American neurologist and Pulitzer Prize nominated author, who rekindled interest in studying synaesthesia describes chromaestesia as “something like fireworks: voice, music, and assorted environmental sounds such as clattering dishes or dog barks trigger colour and firework shapes that arise, move around, and then fade when the sound ends”(2003).

Diagnosis of synaesthesia is particularly difficult in dead men, such as Kandinsky, as it leaves no known pathological trace. It is unclear whether or not Beethoven, who called B minor the black key and D major the orange key, or Schubert, who saw E minor as “a maiden robed in white with a rose-red bow on her chest”, were real synaesthetes (Ward 2006).

The first surveys on synaesthesia were held at the late 19th century and due to the difficulties in measuring subjective experiences, the research on synaesthesia faded into scientific oblivion between 1930 and 1980. It is doubtful that Kandinsky knew what synaesthesia was when he wrote “Concerning the spiritual in Art”. However it is fascinating how he talks about a man facing the exact symptoms of synaesthesia: “A Dresden doctor relates of one of his patients, whom he designates as an “exceptionally sensitive person,” that he could not eat a certain sauce without tasting “blue,” i.e. without experiencing a feeling of seeing a blue colour... It would be possible to suggest, by way of explanation of this, that in highly sensitive people, the way to the soul is so direct and the soul itself so impressionable, that any impression of taste communicates itself immediately

to the soul, and thence to the other organs of sense (in this case, the eyes)”. Kandinsky is aware of this condition and faces it like an extensive sensitivity.

It is natural for a common person to experience a stimuli seemingly addressed to one of the senses with another one. When someone hears the word red , the colour is evoked without definite boundaries: “a never-ending extent of red can only be seen in the mind”. “An analogous case is the sound of a trumpet which one hears when the word “trumpet” is pronounced. This sound is audible to the soul, without the distinctive character of a trumpet heard in the open air or in a room, played alone or with other instruments, in the hands of a postilion, a huntsman, a soldier, or a professional musician”(Kandinsky 1911). Synaesthesia therefore is described as a type of excessive sensitivity to stimuli addressed to the five senses.

To answer how does synaesthesia affect artistic work, although it is scientifically proven, a specific pattern by which a painter translates music to visual art does not seem to exist. If the author was to make a judgement, given that the research paradigm to be followed in this case study is constructivism, they would characterize synaesthesia as an artistic “superpower”. Being sensitive to external stimuli creates an emotional reaction that triggers the “Inner Need” as Kandinsky calls it (the need for spiritual expression by an artist). That makes artists more prone to create. Do artists that have synaesthesia develop a function which allows their mind to translate sound to colour or vice-versa? It seems highly unlikely.

4.3. How does synaesthesia affect the work of artists who have it?

These are Kandinsky’s instruction in order for someone to “experience synaesthesia” (Ward, 2006):

“Lend your ears to music, open your eyes to painting, and… stop thinking! Just ask yourself whether the work has enabled you to ‘walk about’ into a hitherto unknown world. If the answer is yes, what more do you want?” (1911).

Fig. 24. Kandinsky’s Untitled Improvisation (1914)

Over the centuries, man has tried time and again to form relationships between colours and sounds. In this chapter the author seeks to present a general overview of the philosophical/theoretical approaches to the subject developed by significant people of spirit, that set the ground for Kandinsky’s works and theories. The first to tackle the topic where the Greek ancient philosophers and scientists. Pythagoras in the 6th century BC presented his number-based scientific principle which began to dominate our understanding of the world, and continued to do so until the 17th century. This principle resulted in the “harmony of the spheres” espoused by the Pythagoreans which set the foundations for the comprehension of musical harmony, which consisted of purely mathematical tones and supposedly reflected the cosmic order. These tones had in addition a visible equivalent in the (known) colour spectrum. The basis for this system of analogies is the number seven, the number of planets that had been discovered at the time (Scheel 2006). In an extension of the Pythagorean harmony of the spheres, Plato linked the major second and perfect fifth to yellow and the perfect fourth to red (Firth, 2012).

A few centuries later, number seven would also be transferred onto colours by Aristotle, in correspondence with the seven tones of the musical octave. Aristotle introduced the idea of comparing the visual effect of colour intervals with the aural effect of musical intervals, in his Sense and Sensibilia (Shimomissé 1996). He stated that “It is possible that colours may stand in relation to each other in the same manner as concords in music, for the colours which are (to each other) in proportions corresponding with the musical concords, are those which appear to be the most agreeable”. Aristotle’s colour scale thus had seven colours, which he assigned to tone intervals with the help of simple numerical relationships, thus forming the basis for the colour/sound relationship

in antiquity. His colour axiom retained its validity all through the Middle Ages, which likewise produced various colour theories, usually oriented along the lines of numerical symbolism, but quite disparate in terms of number and composition of colours” (Scheel 2006).

A decisive turning point in colour/sound theory took place in the early 18th century, prompted by Newton’s experiments with prisms and the publication of his Opticks in 1704. He demonstrated that white light is composed of the seven colours of the spectrum and that these can be mathematically equated with the seven intervals of the musical scale [He linked the intervals tone, minor third, fourth, fifth, major sixth, minor seventh and octave to the colours red, orange, yellow, green, blue, indigo and violet (Firth 2012)]. Bolstered by Newton’s authority, a relationship between colour and sound now seemed to have been proven by the laws of physics and thus solidly grounded in the natural sciences (Scheel 2006).

One of the most influential theories for Kandinsky was the one developed by Johann Wolfgang von Goethe. The famous poet, who based his ideas on Newton’s theories, felt that both colour and music are both referable to a higher formula “like two rivers which have their source in one and the same mountain” (Lubar 2004).

Additional theories that tried to discover the hidden rules of the colour/sound correspondence followed until the 20th century. They were based either on Newton’s physical laws or on empirical studies of human sensibility, investigating physiological and psychological processes.

4.4. How has Kandinsky been influenced by philosophi-cal/theoretical insights?

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CHAPTER 5. CONCLUSION

Given the nature of the topic the most appropriate way to address it was through secondary research. The primary research contributed in developing a general understanding of the basis of the problem.

This case study was very successful in its primary target, which was the examination and understanding of the research process. It helped the author refine their research skills and comprehend research as a structured and stimulating process rather than a disorganised quest for answers based on internet search engines such as Google.

The basic question of this case study was apt to be answered through researching, analysing and presenting existing data rather than producing new knowledge. Although the secondary research was very extensive, the projected outcomes of the basic research question were based on Kandinsky’s available manuscripts. The initial thought of conducting interviews fell through since the challenged topic cannot be answered in a better way by anyone than Kandinsky. There was also an intention that information coming from other sources and possible judgment from the author be kept to a minimum. Writing this case study gave the researcher the opportunity to study Kandinsky’s writings which can be described as a fascinating experience and are highly recommended to everyone interested in art.

The two secondary questions (theoretical approaches on the link between colour and music and the affect of synaesthesia in artistic work) required a extensive amount of research in order for the author to settle in clear and coherent projected outcomes.

In terms of expanding the knowledge on the fields of synaesthesia and the correspondence between colour and music, more experiments are recommended. The digital age ,which we live in, offers formerly unavailable tools by which to explore such challenging problems. These problems can be tackled through various scientificaly based approaches.

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BIBLIOGRAPHYBooks:Behr, H. et al. (2006) Kandinsky: The path to abstraction. London: Tate Publishing.

Brougher, K. et al. (2005) Visual Music: Synaesthesia in Art and Music Since 1900. London: Thames & Hudson.

Campen, C. (2007) The hidden sense : synesthesia in art and science. Cambridge: MIT Press.

Collins, H. (2010) Creative Research: The Theory and Practice for the Creative Industries. Lausanne: Ava Academia.

Cottrell, S. (2011) Critical Thinking Skills: Developing Effective Analysis and Argument, 2nd ed. New York: Palgrave MacMillan.

Creswell, J. W. (2008) Research Design: Qualitative, Quantitative and mixed method Approaches. 3rd Edition. London: Sage Publications.

Gray, C. & Malins, J. (2004). Visualizing Research: A Guide to the Research Process in Art & Design. Aldershot: Ashgate.

Kandinsky, W. (1947) Concerning the Spiritual in Art. New York: Wittenborn Art Books INC. Kandinsky, W. (1979) Point and line to plane. New York : Dover Publications

Lewis M. & Reinders H. (2003) Study Skills for Speakers of English as a Second Language. New York: Palgrave MacMillan.

Maur, K. (1999) The sound of painting : music in modern art. London : Prestel.

Röthel, H. K., Benjamin, J. & Kandinsky, W. (1982) Kandinsky : catalogue raisonné of the oil paintings. London : Sotheby.

Silverman, D. (2006). Doing Qualitative Research. 2nd ed. London: Sage Publications.

Silverman, D. (2010). Doing Qualitative Research. 3rd ed. London: Sage Publications.

Thomas, G. (2011) How to do Your Case Study: A Guide for Students & Researchers. London: Sage Publications.

Walliman, N. (2005) Your Research Project: A Step-by-Step Guide for the First Time Researcher. 2nd ed. London: Sage Publications.

Whitford, F. (1999) Kandinsky: Watercolours and other works on paper. London: Thames & Hudson.

Yin, K. (2003) Applications of Case Study Research. 2nd ed. London: Sage Publications

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Online Documents / Articles / Thesis:

Dennis, B. (2009) Metamorphosis in modern culture: The parallel evolution of music and painting in the 20th century. Available from: http://www.jstor.org/stable/942503 [Accessed: 23/11/12]

Firth, I. (2012) Music and Colour ( Color ): a new approach to the relationship. Available from: http://www.musicandcolour.net [Accessed: 4/12/12]

Guggenheim (s.d) Kandinsky Biography. Available from: http://www.guggenheim.org/new-york/collections/collection-online/show-full/bio/?artist_name=Vasily%20Kandinsky (Accessed 10.12.2012)

Lubar, K. (2004) Colour Intervals:Applying Concepts of Musical Consonance and Dissonance to Colour. Available from: http://www.katlubar.com/html/theories.htmlby Katherine Lubar [Accessed: 17/11/12]

Scheel, S. (2006) Music Visualization – The Interplay of Color and Sound. Ars Electronica. Available from: http://90.146.8.18/en/archives/festival_archive/festival_catalogs/festival_artikel.asp?iProjectID=13708 [Accessed: 23/11/12]

Shimomissé, E. (1996) A Glossary of Basic Phiolosophical Concepts. Available at: sé http://www.csudh.edu/phenom_studies/study/glossary.htm [Accessed: 7/12/12]

The Free Dictionary by Farlex (2012) Available at: http://www.thefreedictionary.com [Accessed: 15/11/12]

Truckenbrod, J. (2004) Integrated Creativity: Transcending the Boundaries of Visual Art, Music and Literature. Leonardo Music Journal. Vol. 2. No. 1 (1992), pp. 89-95 Available from: http://www.jstor.org/stable/1513214 [Accessed: 15/11/12]

UCA Advice document for writing handbook (2012)

UCA Research and Method handbook (2012)

Vroegh, T. (2009) Paintings in Narrative Motion: A Comparative Approach toMusical and Cinematic Transpositions of Visual Art and Some Suggestions for Cognitive Narratological Analysis. A Thesis Submitted for the Degree of Master of Arts .University of Utrecht.Available from: http://igitur-archive.library.uu.nl/student-theses/2009-1005-200223 [Accessed: 23/11/12]

Ward, O. (2006) The man who heard his paintbox hiss. The Telegraph. Available from: http://www.telegraph.co.uk/culture/art/3653012/The-man-who-heard-his-paintbox-hiss.html# [Accessed: 15/11/12]

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LIST OF FIGURESFig. 1. (cover) Photo of Kandinsky (c.1927). In: Whitford, F. (1999) Kandinsky: Watercolours and other works on paper. London: Thames & Hudson.

Fig. 2. (page 3) Photo of Kandinsky playing the cello (c.1886). In: Whitford, F. (1999) Kandinsky: Watercolours and other works on paper. London: Thames & Hudson.

Fig. 3. Kandinsky, W. (1914) Fugue (Oil painting) In: Behr, H. et al. (2006) Kandinsky: The path to abstraction. London: Tate Publishing.

Fig. 4. Kandinsky, W. (1913) Composition VII (Oil painting) In: Röthel, H. K., Benjamin, J. & Kandinsky, W. (1982) Kandinsky : catalogue raisonné of the oil paintings. London : Sotheby.

Fig. 5. Mindmap of the train of thought that led to the the main idea and (the title) of the case study. Created by author (2012)

Fig. 6. Mindmap illustrating the process of developing the research questions. Created by Author (2012)

Fig. 7. Layers of Research. In: Collins, H. (2010) Creative Research: The Theory and Practice for the Creative Industries. Lausanne: Ava Academia.

Fig. 8. Qualitative and Quantitative research methods In: UCA “research” handbook (2012)

Fig. 9. Kandinsky, W. (1933) Increasing (Oil painting) In: Röthel, H. K., Benjamin, J. & Kandin-sky, W. (1982) Kandinsky : catalogue raisonné of the oil paintings. London : Sotheby.

Fig. 10. Flicklin, J. “Painting” of the sequences of the song “Come as you are” by Nirvana, using a rendering algorithm, which translated sound to colour. From: TED.COM talks: New ways to see music (with colour and fire). (2012) [Film still] At: http://www.ted.com/talks/jared_ficklin_new_ways_to_see_music_with_color_and_fire.html (Accessed 14.12.2012)

Fig. 11. Del Bono’s (1985) Six thinking hats. In: Collins, H. (2010) Creative Research: The Theory and Practice for the Creative Industries. Lausanne: Ava Academia.

Fig. 12. Kolb’s (1984) Cycle of Learning (adapted by author 2012)

Fig. 13. Kandinsky, W. (1939) Horizontals (Oil painting) In: Röthel, H. K., Benjamin, J. & Kand-insky, W. (1982) Kandinsky : catalogue raisonné of the oil paintings. London : Sotheby.

Fig. 14. Tate’s poster of : A Bigger Splash: Painting after performance (2012) Detail from Hockney’s (1967) A Bigger Splash (oil painting) At: http://www.tate.org.uk/whats-on/tate-modern/exhibition/bigger-splash-painting-after-performance?gclid=CJG6xYumzLQCFcjKtAodXj8ANA (Accessed 28.12.2012)

Fig. 15. Managing information In: Gray, C. & Malins, J. (2004). Visualizing Research: A Guide to the Research Process in Art & Design. Aldershot: Ashgate.

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Fig. 16. Kandinsky, W. (1922) Lithograph for the Fourth Bauhas Portfolio. In: Behr, H. et al. (2006) Kandinsky: The path to abstraction. London: Tate Publishing.

Fig. 17. Kandinsky, W. (1925) In Blue (Oil painting) In: Röthel, H. K., Benjamin, J. & Kandinsky, W. (1982) Kandinsky : catalogue raisonné of the oil paintings. London : Sotheby.

Fig. 18. Kandinsky, W. (1925) Yellow, Red, Blue (Oil painting) In: Röthel, H. K., Benjamin, J. & Kandinsky, W. (1982) Kandinsky : catalogue raisonné of the oil paintings. London : Sotheby.

Fig 19. Kandinsky, W. (1923) On White (Oil painting) In: Behr, H. et al. (2006) Kandinsky: The path to abstraction. London: Tate Publishing.

Fig. 20. Kandinsky, W. (1929) Black Spot (Oil painting) In: Röthel, H. K., Benjamin, J. & Kandinsky, W. (1982) Kandinsky : catalogue raisonné of the oil paintings. London : Sotheby.

Fig. 21. Kandinsky, W. (1913) Colour studies with technical explanations In: Whitford, F. (1999) Kandinsky: Watercolours and other works on paper. London: Thames & Hudson.

Fig. 22. Kandinsky, W. (1934) Dominant violet (Oil painting) In: Röthel, H. K., Benjamin, J. & Kandinsky, W. (1982) Kandinsky : catalogue raisonné of the oil paintings. London : Sotheby.

Fig. 23. Kandinsky, W. (1936) Composition IX (Oil painting) In: Röthel, H. K., Benjamin, J. & Kandinsky, W. (1982) Kandinsky : catalogue raisonné of the oil paintings. London : Sotheby.

Fig. 24. Kandinsky, W. (1914) Untitled Improvisation (Oil painting) In: Röthel, H. K., Benjamin, J. & Kandinsky, W. (1982) Kandinsky : catalogue raisonné of the oil paintings. London : Sotheby.

Fig. 25. (page 43) Photo of Kandinsky in Berlin (c.1933) In: Whitford, F. (1999) Kandinsky: Watercolours and other works on paper. London: Thames & Hudson.

Fig. 26. Kandinsky, W. (1911) Compoition V (Oil painting) In: Röthel, H. K., Benjamin, J. & Kandinsky, W. (1982) Kandinsky : catalogue raisonné of the oil paintings. London : Sotheby.

Fig. 27. SWOT analysis In: UCA “writing” handbook (2012)

Fig. 28. (page 46) Photo of Kandinsky in Berlin (c. 1933) In: Whitford, F. (1999) Kandinsky: Watercolours and other works on paper. London: Thames & Hudson.

Fig. 29. Kandinsky, W. (1911) Impression V (Park) (Oil painting) In: Röthel, H. K., Benjamin, J. & Kandinsky, W. (1982) Kandinsky : catalogue raisonné of the oil paintings. London : Sothe-by.

Fig. 30. Kandinsky, W. (1911) Improvisation 19(Oil painting) In: Röthel, H. K., Benjamin, J. & Kandinsky, W. (1982) Kandinsky : catalogue raisonné of the oil paintings. London : Sotheby.

Fig. 31. Kandinsky, W. (1923)Composition VIII(Oil painting) In: Röthel, H. K., Benjamin, J. & Kandinsky, W. (1982) Kandinsky : catalogue raisonné of the oil paintings. London : Sotheby.

Fig. 32. Ark’s key time planning theory (2009) Available at: http://homepages.ed.ac.uk/calarks/arks/Materials/particip/Making_a_Time_Plan.pdf(Accessed: 3.01.2013)

Fig. 33. Time plan Created by author (2012)

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Fig, 34. Photo “To do list”. Created by author (2012)

Fig. 35. Photo of the UCA “writing” and “research” handbooks (Author 2012)

Fig. 36. Making of a mind map Cteated by author (2012)

Fig. 37. Photo of some of the most useful literature (Author 2012)

Fig. 38. “Printscreen” photo (Author, 2012)

Fig. 39. Photo of author’s notebook (Author 2012)

Fig. 40. “Printscreen” photo (Author, 2012)

Fig. 41. “Printscreen” photo (Author, 2012)

Fig. 42. “Printscreen” photo of JSTOR (Author 2012)

Fig. 43. East, J. Judging plagiarism: a problem of morality and convention ( 2009) Available from: http://link.springer.com/article/10.1007%2Fs10734-009-9234-9?LI=true (Accessed 4.12.2013)

Fig. 44 Photo of Kandinsky in Dresden (c.1905)

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“how have notes been translated into colours in the abstract works of Wassily Kandinsky: an exploration of the undefined link between music and the visual arts.”

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Fig. 26. Kandinsky’s Composition V (1911)

“The word composition moved me spiritually and I made it my aim in life to paint a composition. It affected me like a prayer and filled me with awe”.

(Kandinsky 1926)

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In this critical appraisal the “SWOT” analysis and the Kolb’s cycle of learning were applied. The “SWOT” analysis, although usually used in branding or business projects was applied very successfully. This case study took the place of the examined “product” and every aspect of it was questioned rigidly. The case study was treated as a developing project with possible strengths, weaknesses, opportunities and threats.

Fig. 27. SWOT analysis (UCA “writing” handbook 2012)

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Possible weaknesses:

One of the possible flaws of this case study is the terminology used in its title. The term “notes” was used conventionally as a generalization of the elements that music consists of. What was eventually understood was that Kandinsky, in his writings, more often parallels colours to instruments or “sound characters” and less often to notes. The ideal title would be “ How have musical elements been translated into colours in the abstract works of Wassily Kandinsky”. Furthermore when referring to notes the researcher had to resort in quoting technical musical terminology which was something they tried to avoid. The research approach supplied was, however, induction, which is “a flexible approach that allows a change of emphasis as the project continues” (Collins 2009). The three questions of the case study were clearly stated and comprehensively answered. One problem was that the case study surpassed the defined word limit. The author examined the possibility of shortening the “products of inquiry” chapter but the projected outcomes would not answer the initial questions thoroughly enough. One of the thoughts that occurred as a solution, were to dismiss one of the initially stated secondary questions. This solution would also result in an incomplete case study as the three questions were interdependent. In order for the reader to comprehend the facts leading to Kandinsky’s ability to parallel music and colour, his theoretical background and the effect of synaesthesia in his work would have to be examined.

The conducted research was thorough and rigorous, however it was based on secondary research methods. The use of the questionnaires as a primary research method was rejected from the beginning since the examined topic was not considered to be one of common knowledge. The possibility of conducting interviews was examined but failed to be executed for the following reasons.

The basic research question was answered with information based on Kandinsky’s available manuscripts. There were unfruitful attempts to approach the curator of Kandinsky’s latest exhibition in Tate Modern (2006) as well as one of the authors of “Kandinsky: The path to abstraction” for a possible interview. The book which was also based on the 2006 exhibition in Tate Modern with the same title was very useful as a general research tool, it was still doubtful whether the challenged topic could be answered in a better way by anyone other than Kandinsky. Nevertheless, even if it failed to provide new insights, the use of an additional primary research method would make the case study seem more thorough.

Another aspect of the research process that was possibly mishandled was the time management. While it is not a matter that affected the projected outcome directly, it had an impact on the research process. The basic reason for the time management being poor, is that the researcher didn’t have much experience on the field of research. The reading of the books was not very organised and a large amount of time was spent on studying literature which was moderately relevant. In the end, the process of reading in order to come up with the required data, was longer than expected leaving the author with a limited amount of time to complete the writing section of the project.

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Possible strengths:

The identification of the nature of the research and the research methods is believed to be rigorous and satisfactory. All the important theories introduced in the essential and recommended reading books were applied. The most enlightening books, in terms of understanding research, were “Creative Research” by Hillary Collins (2010), “Visualizing Research” by Carole Gray and Julian Malins (2004)and “Doing Qualitative Research” by David Silverman (2010).

In terms of validity and relativity, the case study successfully challenges and presents a well documented argument. All the collected data have been crosschecked and referenced accordingly. Special attention was given to the persistent flow of the case study. The chapters that are based on the researcher’s judgment is required mostly [The syllogism chapter(1.1), where the rationale behind settling on the topic is thoroughly and comprehendingly described, as well as the products of inquiry chapters (Chapter 4)], can be described as well structured. All the parameters of the research and writing process are presented, while avoiding the possibility of leaving gaps of information.

One possible strength of the case study is that it is enriched with extensive imagery due to the nature of the examined topic. Kandinsky’s work serves as a tool in challenging the topic and can be described as notably educational ,as well as recreational material.