But light colours like those of The Impressionists, act, when they alone make a whole work, with the magic of high voices: floating, light, youthful, carefree, and probably cool too.”Īccording to Gerstner, both red and brown tones (which he contends are synonymous) could represent “fan fares with a persistent, intrusive, powerful tone… and parallels can be drawn with powerful drum beats.” Dark colours are sonorous, powerful, mighty like deep tones. In his book, The Forms Of Colour, Karl Gerstner dove deeper into the correlation between sound and colour, contending that, “dark and light colours do actually have effects which are comparable to low and high musical tones. Each developer has seen different colours as sitting at different points on the musical scale for Castel, brown was G#, Russian pianist and composer Alexander Scriabin (considered to be the primary figure of Russian Symbolism in music) deigned brown to be an F and German author Theodor Seemann saw brown as being synonymous with A# among other theories.
Since then, a host of learned men have attempted to refine Castel’s correlation between sound and colour but each researcher’s findings and/or proposals haven’t exactly lined up with one another. In 1734, a French Jesuit monk, Louis Bertrand Castel, designed the first clavecin oculaire – a light organ – a new musical instrument which would simultaneously produce both sound and the “correct” corresponding colours to the notes played. One such possibility revolves around the fact that since 1704 scientists and theorists of a multitude of disciplines – mathematicians, physicists, philosophers and more – beginning with Isaac Newton have been attempting to discern the solid relationships between colour and the musical scale. Ignoring the band’s back-story revolving around a god/legend called Boognish, since forming in 1984 the band has self-described the timbres of its music as being very brown in colour, and that statement undoubtedly conjures more provocative images than any otherworldly or religious totem could because the ambiguity of it raises still more questions.īrown? What could brown mean? Why brown? What’s the implication? That wit, insolence and satire is personified in the stage personas that Ween founding members Aaron Freeman and Mickey Melchiondo created (Gene and Dean Ween respectively) as well as the music they write together, but the subversive nature of it has proven to be the most infectious quality of the band and is where their intelligence shows best. In short, as Aristotle said, “Wit is educated insolence.” The by-product of that (some would say passive aggressive) mindset is invariably an all-consuming sense of humour and need to laugh sometimes it manifests as poking fun at others (how implicit or explicit the mockery is usually depends upon the personality of the individual and how often their flaws have been mocked and/or dissected by others) and sometimes it’s only a matter of chronicling it as satire – but either way it’s an irresistible urge that seeks to level the playing field by comforting the disturbed and disturbing the comfortable. Those genuinely bright individuals are the ones that are able to look at what they know to be true versus the practices indulged so regularly that they’re considered to be “right” by the population at large, see the inherent comic value in the disparity between the two viewpoints and celebrate them rather than attempt to reconcile with them or try to bend others to their will and opinion. So what’s the difference? Those that assume themselves to be intelligent usually come by the notion honestly – they might be scholarly, they might be good (if fairly humorless) conversationalists, they may be the ones that their friends bring their problems to because they’re regarded as adept, level-headed problem solvers, they may even have proven to be capable of producing dialogue or work that’s regarded as cornerstone to the primary theories in their field – but they lack a reflective quality that the honestly intelligent possess that’s the difference between being bookish and intellectual. In art, as is the case in life, it has been proven time and again that the population of intelligent people in the world fall into one of two groups: those that consider themselves to be smart and those that simply are.
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