Peter Ciuha Barvna glasba – Bojan Klemencsoppciuh/2008 vizualizacija glasbe - katalog... · je, svetlobe in zvoka pa je opisal armenski mistik G. I. Gurdjijev v tretji knjigi »Belcebubovih

Peter Ciuha Barvna glasba –Koncert za

klavir in kitaro

Programiranje

Glasba

Bojan Klemenc

Lado Jakøa

ciuha katalog 25.03.2008 10:42 Page 1

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Barvna glasba – Koncert za klavir in kitaro

Priœujoœi projekt je rodila æelja po barvnem pripomoœku, ki bi olajøal ali celoomogoœil igranje glasbe nekomu, ki ni izuœen glasbenik. Tako sem iskal moænevire in navdihe ter uvidel, da gre za starodavni interes o povezavi med glasboin barvo ali toni in barvami.

Pred tristo leti je Newton s prizmorazdelil æarek sonœne svetlobe namavriœne barve ter doloœil sedemosnovnih barv, tako da so se ujema-le s sedmimi toni oktave. Kmalu zanjim je L. B. Castel napovedal barv-ni klavir, ki bo nekoœ del vsakegapariøkega doma. Le-ta bo imel bar-vne tipke, prav tako pa bo svetloboprojiciral v prostor.Najbolj skrajno vizijoo povezanosti materi-

je, svetlobe in zvoka pa je opisal armenski mistik G. I. Gurdjijev v tretji knjigi»Belcebubovih pripovedk svojemu vnuku«, kjer je opisal inøtrument, ki je tonspremenil v barvno svetlobo, barvno svetlobo v ton, hkrati pa je zmogel alkimi-stiœno pretvarjati nekatere kemiœne snovi v druge.Fragmenti takih verovanj se vraœajo kljub enotnemu mnenju skoraj vseh znan-stvenikov vpletenih strok, ki vztrajajo na jasni loœitvi in specifiœnosti svojih disci-plin. Primer take kritike je izjava, da je edino, kar je skupno tem »znanstveni-kom« to, da vsak misli, da se je tega spomnil prvi, da bo edini naøel konœni in

pravilni odgovor, odreøil œloveøtvo teme in neznanja, terda se vsi ostali povsem motijo. Tako ni sluœaj, da je mordanajdrznejøi poskus realizacije te ideje Skrjabinov Prometej,ki mu je pomenil tudi rojstvo nove religije. Blizu je tudiWagner s svojo predstavo o »Gesamtkunstwerku« ali umet-niøkem delu za vse œute.Danes stanje tehnologije omogoœa neskonœno raznolikostpovezav med glasbo in barvo, najveœkrat brez odreøenj-skih namenov. Æivimo v praktiœnem œasu, kjer se umetnosti

odreka objektivnost njene resnice, tako da ta najveœkrat sluæi zabavi.Poglejmo si razpon realizacij barvnih lestvic v zadnjih tristo letih. SLIKA2Situacija je rahlo kaotiœna a vendarle zanimiva. Dodan pa je tudi SLIKA3krog intervalov oktave v barvah Josefa Mathiasa Hauerja, ki je pred Schoen-bergom izpeljal teorijo komponiranja s kromatiœnimi toni. Z J. Ittnom, profe-sorjem na Bauhausu, sta æelela razøiriti program øole z glasbenim inøtitutom.Øe bolj znana profesorja sta bila slikarja Paul Klee in Vasilij Kandinski. Svojeabstraktne risbe in slike sta kot glasbenika in mistika globoko povezovala zurejenostjo glasbe.

Seveda o barvnih lestvicah sinestetiœnih glasbenikov teæko razpravljamo, ker soposledica neposrednega videnja ali doæivetja.Temeljne zakone harmonije je zapisal Pitagora, ki je trdil, da so kot preprostamatematiœna sorazmerja, npr. 1 : 2, 2 : 3, 3 : 4 ... med frekvencami tonov alidolæinami strun. Harmonija, ki jo mnogokrat doæivljamo kot œustveni del glas-be, je tako postala del matematiœne urejenosti kozmosa in œloveka – mikroko-zmosa. Œustveni del vidnega vesolja pa so seveda barve, ki v naravi oznaœuje-jo stanja stvari ali bitij. Res pa je, da so matematiœno slabøe doloœene kakortoni. A kar vemo, je to, da lahko vse mavriœne barve poveæemo v skoraj skle-njen krog, podobno kakor je Pitagora povezal tone v krog enajstih œistih kvint(kvinta je peti ton oktave) in zadnje, »volœje« kvinte. Novoveøki razum je kasne-je napako enakomerno razdelil med vse tone in ustvaril danaønjo »temperira-no« tonsko lestvico. Tudi barvni krog so sklenili z novo, v mavrici manjkajoœobarvo, ki so jo poimenovali po Napoleonovi bitki pri kraju Magenta. To barvov naravi uzremo, ko se sreœata zaœetek in konec dveh mavric. SLIKA4Na kvintnem krogu vidimo, da je sedem tonov oktave skupaj, pet poltonov pasledi oziroma so »nasproti« veœine belih. Ta delitev zelo spominja na delitevtoplih in hladnih barv v naravi ter barvnem krogu. Po njej je izpeljana osnovnabarva vsakega tona. SLIKA 5

Sœasoma pa se je glasbeno pojmovanje harmonije bistveno razøirilo od prvot-ne œiste oktave in kvinte ter vkljuœilo øe terco (tretji ton v oktavi) v tako imenova-ni akord. A terca ne razdeli intervala (obsega) kvinte simetriœno, tako da govorimo odveh tercah – veliki in mali, ki sta enako harmoniœni, a doæivljajsko zelo razliœ-ni. Tonsko razliko med njima lahko prikaæemo z drugo barvo. SLIKA6 Tako lahko le z dvema barvama v znaku sestavljamo 12 durovih in 12 molovih

Newtonova delitev tonov in barv, 1704

Barvne orgle, A. W. Remington,1893, tipke – SLIKA 1


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akordov, ali povedano preprosteje, sestavljamo harmonije brez pretiranegarazmiøljanja – dovolj je, da sledimo podobnim barvam.Durov akord sestavljata dve najbolj podobni zunanji barvi in vmesna notranja– npr. C, e, G, molov pa dve najbliæji notranji barvi in vmesna zunanja – npr. c, Es, g. Tako barvne podobnosti prikazujejo zvoœne (harmoniœne) sorodnosti, karodpre vrata igranju glasbe po barvnem kljuœu. Beseda klavir izhaja iz besedeclavi, kar pomeni ... kljuœ.In tudi te barvne znake lahko poveæemo v mavriœna zaporedja. SLIKA7Barvni kljuœ za klavir in kitaro je natisnjen æe na vabilu, z æeljo, da ga prejem-nik sam preizkusi in uporabi ter na razstavi sodeluje pri »barvnem koncertu zaklavir in kitaro«. Kaj œe bi obiskovalci in glasbeniki zaigrali skupaj s pomoœjobarvnega kljuœa? Morda bodo obiskovalci glasbenike vodili iz ene barve vdrugo, ti pa bodo znotraj tako doloœenih akordov svobodno ritmiœno in melo-diœno improvizirali ali izvedli »barvno pentatoniko«. Kolikor bo mogoœe, bodo inøtrumenti povezani z raœunalnikom, ki bo istoœasnoprojiciral barvno sliko igranja, tako da bomo uæivali tudi v vidni obliki sliønega.Mogoœe bo videti tudi æe natisnjene grafike vizualizacij znanih glasbenih del.Te bo raœunalnik risal in igral takrat, ko nanj povezanih inøtrumentov ne bonihœe uporabljal. Raœunalniøki program, ki prevaja glasbo v sliko, nastaja v okviru magistrskegaøtudija videa na ljubljanski Akademiji za likovno umetnost pri mentorju SreœuDraganu. Posebnost tega øtudija je povezava s Fakulteto za raœunalniøtvo ininformatiko, kjer øtudenti dr. Franca Soline pri predmetu Metode komuniciranjauresniœujejo raœunalniøki del projektov øtudentov videa. Glasbena mentorica jeUrøka Pompe. Prvi prototip programa je izdelal predvsem Strahil Georgiev,sedanji program pa je delo Bojana Klemenca, ki je te sanje spremenil v resniœ-nost.Primer: kompoziciji Bacha in Bartoka, na strani 6 in 7.

Seveda pa sedanja realizacija øe ni konec poti, prej zaœetek. Œe æelimo v barvospremeniti poljubno kombinacijo tonov, bi lahko rekli, da iøœemo eno izmedsedmih milijonov barv, ki jih vidi oko. Nato je potrebno upodobiti melodijo – tase kot ena ali veœ œrt (glasov) giblje med harmoniœno privlaœnimi in odbijajoœi-mi se toni, ritem – ki strukturira œas in vanj umeøœa zvoœne dogodke – podobnokot so barvne oblike umeøœene v prostor, ter »barve tona«, ki vkljuœuje instru-

mentalni karakter glasbe in znaœilnosti izvedbe, saj se da do istega tona pritina mnogo razliœnih naœinov ali ga ustvarjalno »obarvati«.

Pri preuœevanju melodije in ritma se pojavi vpraøanje povezanosti dela s celoto,torej kompozicije. Ta je lahko strukturirana kot pot ali potovanje teme/melodi-je do konœne kadence ali zakljuœka. Ta pot je lahko enostavna, ponavljajoœa,(ne)doloœena ali prepuøœena trenutnemu navdihu, lahko pa je dramatiœna,polna vzponov in padcev, dvomov, kriz in razsvetljenj – kot je samo æivljenje,ki nas je pripeljalo do tega trenutka in besed, ki jih prebirate.

O tej poti skozi æivljenje, œas in prostor priœajo tudi moje slike, risbe in raœunal-niøke fraktalne grafike.Prviœ razstavljam risbe in slike, v katerih sem neposredno upodabljal glasbo.Œutim jih kot intuitivne svetilnike, ki me vodijo pri iskanju zakonitosti. Fraktalnegrafike, narejene s pomoœjo raœunalnika, pa so kot pogled v moæno »konœno«vizualizacijo glasbe, saj je le-ta tudi sama fraktal.

Lotil sem se zanimive poti in vesel sem, da jo lahko delim z vami, hvaleæenvsem, ki so ta dogodek omogoœili – øe posebej Miloøu Baøinu in Beæigrajskigaleriji – ter se ga seveda udeleæili. Brez prvih ga ne bi bilo, brez drugih ne bi imel smisla. Pomeni pa tudi zaœetek sodelovanja z vsestranskim umetnikom in glasbenikomLadom Jakøo, ki se ga zelo veselim.

Skupaj vstopamo v œudovito pomlad, ki nas spominja, da enkratno æivljenjerojeva umetnost, ta pa je le oblika osnovne rdeœe niti ...

Peter Ciuha

H. Neugeboren, grafiœna upodobitev Bachove fuge, osnova za Bachov spomenik


Color Music – Concert for Piano and Guitar

This project stems from my desire to create a color aid that would make playingmusic easier, or perhaps even possible, for people not trained as musicians. Seek-ing potential sources and inspirations I realized my interest derived from the age-old fascination with the relations between music and color, or tones and colors.

Three hundred years ago, Sir IsaacNewton separated with a prism aray of sunlight into spectral colorsand determined the seven basic col-ors, to match the seven tones of theoctave. Not long after that, LouisBertrand Castel proposed the con-struction of a color piano that hebelieved would some day have itsplace in every Parisianhome; it would havecolor keys and wouldfurthermore project light into the room.

The most extreme vision of the interconnectedness between matter, light, andsound is described in the third volume of Beelzebub’s Tales to His Grandson bythe Armenian mystic G. I. Gurdjieff, as an instrument that changes a tone intocolor light, and color light into a tone, with both being capable of alchemicallytransforming certain chemical substances into others.Fragments of such beliefs persist, despite the virtually unanimous agreementof all scientists from pertinent fields that their respective disciplines aredistinctly separate and specific. A frequent criticism is that the only thing such

“pseudoscientists” as the above have in common is theirconviction that each of them is the first one to have comeup with this idea, that they and they alone can find theonly and ultimately correct answer, thus enlighteninghumanity and delivering it from ignorance, and thateveryone else is entirely wrong. The possibly most daringattempt to put this idea into practice is, not by accident,Alexander Scriabin’s Prometheus, which signified also thebirth of a new religion for the composer. Also Wagner

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Newton’s division oftones and colors, 1704

The color organ, A. W. Remington, 1893, keys

comes close with his notion of the Gesamtkunstwerk, a work of art for all thesenses.Today, the advanced state of technology allows endlessly diverse connectionsbetween music and color, free, for the most part, of any deliverance ambitions.We live in practically minded times, which deny art the objectivity of its truth, soas a consequence it most often serves as fun.Let us examine the range of the realizations of color scales over the last three hun-dred years.Although slightly chaotic, the situation is quite interesting. There is the circle ofintervals of the octave in colors by Josef Matthias Hauer, who devised his methodfor composing with chromatic tones before Schoenberg. He and Johannes Itten,a master at the Bauhaus, wanted to expand the school’s pro-gram with a musicinstitute. Even more renowned teachers there were the painters Paul Klee andWassily Kandinsky, who – as musicians and mystics – related their abstractdrawings and paintings at a profound level with the order of music. The color scales of synesthetic musicians are naturally hard to discuss, since theyresult from something directly seen or experienced.The basic laws of harmony were laid out by Pythagoras, who claimed they werelike simple whole number ratios, e.g., 2:1, 3:2, 4:3 etc., between the frequenciesof the tones, or, the lengths of the strings. Harmony, often experienced as the emo-tional part of music, thus became part of the mathematical order ruling the cosmosand man – the microcosm. The emotional part of the visible universe is colors,which in nature mark the states of things or beings. They are, however, mathemat-ically less precisely defined than tones. But what we do know is that the spectralcolors can be united into an almost full circle, similarly as Pythagoras had broughttogether the tones into a circle of eleven pure fifths (the fifth being the fifth tone ofthe octave) and the final “wolf fifth.” Later knowledge adjusted the anomaly bydistributing it equally between all tones and creating the modern tempered tonescale. Also the color circle was made whole with the addition of magenta, an extra-spectral color named after the dye discovered near the town of Magenta shortlyafter Napoleon III’s victory in the Battle of Magenta. In nature we can observe thiscolor when the end of one rainbow and the beginning of another come together.In the circle of fifths we can see that the seven tones of the octave are together,with the five semitones following most of them, or being “opposite.” This distri-bution is rem-iniscent of the distribution of warm and cool colors in nature andin the color circle. The basic colors of individual tones are derived from it.


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H. Neugeboren, a graphic representation of a Bach fugue, the basis for a Bach monument

Over time the musical concept of harmony expanded from the initially pureoctave and fifth to include the third (the third tone in the octave) in the so-cal-led chord.But a third does not divide the interval of a fifth symmetrically, and for this reasonwe speak of two thirds: a major third and a minor third, both harmonious, butexperientially very different. The tonal difference between them can be represen-ted by a different color.The two colors are brought together in a color symbol, like the ones printed onthe invitation, with the major key color being the outer or the background colorof the sign, and the minor key color being the color of the smaller interior shape.If we place symbols over the matching tones on the instrument, we can choosetones by their colors. A perfect harmony consists of three tones whose colors aremost similar, played at the same time.We can thus compose twelve major and twelve minor chords with only two colorsin a symbol, or in simpler terms, compose harmonies without having to think toohard about it: it is enough to follow similar colors.A major chord consists of two most similar exterior colors and the intermediatecolor of an interior shape, e.g., C, e, G, while a minor chord consists of two mostsimilar interior-shape colors and the intermediate exterior color, e.g., c, E-flat, g.In this way similarities between colors represent sound (harmonic) relations, andthis opens the way to playing music according to a color key. The word klavir,the Slovene for piano, derives from clavis, the Latin for key.These color symbols can be united into spectral sequences.The color key for the piano and the guitar is printed on the invitation, in thehope that the people who receive it will try it out for themselves and thus takepart in the “color concert for piano and guitar” at the show. What if visitorsand musicians played together with the aid of the color key? The visitors mightlead the musicians from one color to the next, while the musicians might freelyimprovise with rhythm and melody within the chords thus determined, or per-form “color pentatonics.”To the extent possible, the instruments will be hooked up to a computer that willproject a color image of the music played, so that we can enjoy also a visibleform of the audible.Prints of the visualizations of musical works will be displayed. These will bedrawn and played by the computer when nobody is using the instruments con-nected to it.

This computer program that translates music into images is being developed aspart of the postgraduate studies for an MFA degree in video under the mentor-ship of Sreœo Dragan. What is particular about these studies is that they are beingcarried out in collaboration with the Faculty of Computer Science and Informat-ics, where the students of Franc Solina, PhD, in his Methods of Communicationclass, find computer solutions for the projects of the students of Video at the Acad-emy. The mentor for music is Urøka Pompe. The first prototype of the program wasdesigned primarily by Strahil Georgiev, while the program currently used is thework of Bojan Klemenc, who transformed this dream into reality.Of course, the current version of the program is not the end of the road; rather,it is the beginning. If we wish to transform a given combination of notes into acolor, we could say that we are looking for one of the seven million colors theeye can see. But we also need to represent a melody – which moves as one orseveral lines (sounds) between harmonically attractive or repellent tones ; rhythm– which structures time, positioning sound events in it, similarly as forms are posi-tioned in space; and “tone colors” – which include the instrumental character ofmusic and the characteristics of an individual performance, since the same tonecan be reached in many different ways and be creatively “colored.”Studying melody and rhythm broaches also the issue of the interconnectednessof a part with the whole, i.e., composition. This can be structured as the journeyof a theme/melody to the final cadence or ending. This journey can be simple,repetitive, (in)determinate, or left up to momentary inspiration, it can also be dra-matic, full of rises and falls, doubts, crises, and enlightenments – like life itself,which has brought us to this moment and the words you are reading.

Peter Ciuha


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ZVOK BARVEBARVA ZVOKA

Glasbeniki se ves œas gibljemo sredi barvnega spektra, saj je barva ena bistve-nih izraznih moænosti zvoka. Vendar v zaœetnih, øe posebej bistvenih obdobjihukvarjanja z glasbo o tem ne izvemo skoraj niœ, œeprav so otroci v tem smisluizjemno dojemljivi in likovno ustvarjalni. Kasneje nas øele øtudij glasbene kompo-zicije pripelje do globljega spoznavanja barvne zvoœnosti. Niœ presenetljivegani, da mnogi skladatelji, avtorji sodobnih glasbenih partitur ne skrivajo likovnihambicij in da obstaja v svetu kar nekaj institucij, ki se intenzivno ukvarjajo z»glasbeno grafiko«, zbiranjem, hranjenjem in razstavljanjem partitur, ki polegglasbene izkazujejo tudi likovno izvirnost in kvaliteto. Osebna intuicija in sine-stetiœna radovednost lahko tukaj spontano odkrivata nove veœmedijske svetove,zgodovina glasbe ter likovne umetnosti pa nam kaæeta dolgo vrsto poskusov razi-skovanja vzporednic obeh umetnosti. Avtor razstave jih je pazljivo prouœeval innekaj bistvenih tudi predstavil v svojem uvodnem zapisu. Kako otroci pri ustvarjalnih delavnicah navduøeno intuitivno sledijo glasbi z bar-vami in oblikami, lahko vidimo na izbranih razstavah njihovih likovnih del, kipogosto kaæejo takøno stopnjo inventivnosti, da se ob njih povpreœni ljubiteljskislikarji lahko krepko zamislijo.Ob tem ves œas sreœujem likovnike, ki se intenzivno odzivajo na glasbo, jo doæiv-ljajo kot navdih in nekakøno »partituro« svojih slik, jaz sam pa si likovna delapogosto izbiram za partiture glasbenih kompozicij in improvizacij. Pri tem je se-veda zgolj barvna odzivnost na zvoke premalo, saj ima glasbeno tkivo øe vrstodrugih, za likovno realizacijo zanimivih in izzivalnih odtenkov (ritem, dinamika,agogika, energija ...). Zato se mi ta podvig slikarja Petra Ciuhe zdi iskriv ustvarjalen projekt, ki ni zani-miv le za »manj veøœe« glasbenike, ki bi se poigravali z »barvno klaviaturo« ali»barvno kitaro«, temveœ tudi odliœen ustvarjalni pripomoœek za zvoœno-barvnoraziskovanje bolj kompleksnih glasbenih vsebin.Na podlagi avtorjevih predstavljenih del lahko opazimo veliko sorodnost »bar-vnega branja« posameznih not, intervalov in harmonij njegovega »digitalno«vodenega programa (izdelan skupaj s sodelavcema Strahilom Georgievim inBojanom Klemencem) s sicer v glasbeni zgodovini za »subjektivne« oznaœenimizapisi pomembnih skladateljev, ki so sinestetiœno doæivljali svet okoli sebe in toizkuønjo uresniœili v svojih glasbenih delih.

Verjetno si nihœe od tistih, ki jih Peter Ciuha omenja v svojem besedilu, ne lastipravice o edini in konœni objektivnosti svojih sinestetiœnih raziskav, je pa taposkus avtorja mnogim pribliæal to zapeljivo moænost muziciranja z barvo. Zvedno bolj izpopolnjeno tehniko digitalnega barvnega prikaza glasbe v likovniobliki – in to kar neposredno ter sprotno – se odpirajo nove ustvarjalne moænostiumetniøkega spoja obeh medijev.Kot je neskonœna paleta tonskih in »barvnih« moænosti akustiœnih instumentov, øeposebno, ko se spustim v subtilno »nanotkivo« alikvotnih tonov ali pa v komplek-sno harmonijo poltonov in œetrtonov ter »muzikalnih« øumov in ropotov, tako jevabljiva tudi struktura dinamiœne in ritmiœne likovne odslikave glasbe. Tudi na tempodroœju digitalni navdih øe ni rekel zadnje besede in likovni zapis tako sofistici-rane glasbe øe œaka na bolj natanœno in hkrati bolj estetsko realizacijo. Kako daleœ lahko pripelje izpopolnjevanje te digitalne magije spajanja akustiœ-nega in likovnega, ostaja skrivnost, a skupaj s Petrom Ciuho se æe vnaprej vese-limo odprtih razseænosti njegovega navdiha.

Lado Jakøa

Slika 1 A. W. Remington – barvne tipke in njihov notni zapis / A. W. Remington –color keys and their notationSlika 2 Barvne povezave z glasbenimi toni v tristo letih / Connections betweencolors and musical tones over three hundred yearsSlika 3 Barvni krog tonskih intervalov oktave J. M. Hauerja (z dodanimi barvnimikockami P. Ciuhe) / J. M. Hauer’s color circle of tone intervals of the octave (with P. Ciuha’s color blocks added)Slika 4 Pri prekrivanju dveh mavric se pojavi nova barva – Magenta rdeœa ali»pink« / When two rainbows overlap, a new color emerges – magenta or »pink« Slika 5 Barvni in kvintni krog razdeljen na tople (bele tipke) in hladne barve (œrne tipke) / The color circle and the circle of fifths divided into warm (white keys)and cool colors (black keys)Slika 6 Barva durov in molov dvanajstih poltonov P. Ciuhe / P. Ciuha’s colors of thetwelve semitonesSlika 7 Umestitev barvnih znakov P. Ciuhe v tri mavriœna zaporedja / The arrangementof P. Ciuha’s color symbols into three spectral sequences


Slika 2

Slika 6

Slika 1

Slika 7

Slika 4

Slika 3 Slika 5


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Barvna kitara / A color guitar

Postavitev barvnega klavirja P. Ciuhe v Mestni galeriji v Ljubljani Peter Ciuha’s color piano at the Mestna galerija Ljubljana


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THE SOUND OF COLORTHE COLOR OF SOUND

Musicians constantly move about the color spectrum, since color is one of themajor possibilities in expression with sound. In our early, formative years of invol-vement with music, though, we hear precious little about that, despite the fact thatchildren are particularly susceptible to this aspect of music and very pictorially cre-ative in relation to it. Only when beginning to study musical composition do weget an opportunity to delve into color sonority. Not surprisingly, many composersof contemporary musical scores make no secret of their visual artistic ambitions,and there are quite a few institutions in the world that are actively engaged in col-lecting, keeping, and exhibiting “musical graphic art,” i.e., scores that displayoriginality and quality both as music and as art. Personal intuition and synestheticcuriosity can lead to spontaneous discoveries of new multimedia worlds, and thehistories of music and fine art provide us with a profusion of examples of attemptsto find parallels between the two art forms. The author of the present exhibitionhas studied them closely, presenting some of the crucial ones in his introductorytext.The selected exhibits of children’s art clearly indicate the enthusiasm with whichchildren intuitively follow music with colors and forms at creative workshops, andtheir works often display a level of inventiveness that could put average adult ama-teur painters to shame.I frequently come across artists who intensely react to music, experiencing it as aninspiration and some kind of “score” for their works. By the same token, I oftenchoose works of art for the scores of my musical compositions and improvisations.Obviously, color responsiveness to sound is not enough; the fabric of music has anumber of other nuances, equally interesting and challenging for artistic realization(rhythm, dynamics, agogics, energy, etc.).For this reason I find Peter Ciuha’s brilliant artistic project fascinating not only asan opportunity for “less skilled” musicians to play with a “color keyboard” or a“color guitar,” but also as an excellent creative tool for sound and color explo-rations of more complex musical contents.The artist’s presented works display a great similarity in terms of the “color read-ing” of individual notes, intervals, and harmonies by his “digitally” run program

(designed in collaboration with Strahil Georgiev and Bojan Klemenc) with – histori-cally categorized as “subjective” – writings by great composers who experiencedthe world around them synesthetically and put this experience into their music.Probably none of the people mentioned in Peter Ciuha’s text would claim theirsynesthetic explorations to be exclusively and ultimately objective; what the artistaccomplished with his trial was to present to many the tempting possibility ofmaking music with colors. The increasingly advanced technologies for digitalcolor representations of music with visual art – directly and immediately to boot –open up new creative possibilities for intertwining the two media in art.The palette of tonal and “color” possibilities of musical instruments is infinite,especially on the level of the subtle “nanotissue” of aliquot tones or of the complexharmonies of semitones or quarter tones and “musical” noises and clashes;equally appealing is the structure of a dynamic and rhythmic visual representationof music. The digital inspiration in this domain has not yet been exhausted, andvisual representations of sophisticated music have yet to see more precise and alsomore esthetic realizations.Just how far the advancement of this digital magic in fusing the acoustic and thevisual can go remains a mystery, but together with Peter Ciuha we are alreadylooking forward to the options opened up by his inspiration.

Lado Jakøa


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Peter Ciuha »Risanje glasbe – Potovanje œrte – Manu Chao I«, Risba, 21 x 30 cm, 2004Peter Ciuha, “Drawing Music – The Journey of a Line – Manu Chao I”, Risba, 21 x 30 cm, 2004


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Peter Ciuha je bil rojen leta1968 v Ljubljani. Leta1992 je zakljuœil øtudij naAkademiji za likovno umetnost v Ljubljani (smer slikarstvo, pri Janezu Ber-niku, teoretiœna diplomska naloga »Okusi Kaosa« pri dr. Joæefu Muhoviœu jeobjavljena v izdaji »Happy New Age« Œasopisa za kritiko znanosti, Ljub-ljana 1992. Leta1997 je zakljuœil specialistiœni øtudij grafike (jedkanice infraktalne raœunalniøke grafike) na ALU pri Lojzetu Logarju, kjer je tudi konœalmagisterij umetnosti leta 2001. Leta 2005 je vpisal magistrski øtudij Videa,tema: Vizualizacija glasbe – Interaktivna Fraktalna inøtalacija, na ALU, kipoteka skupaj s Fakulteto za Informatiko v Ljubljani (FRI), mentorji: SreœoDragan, dr. Franc Solina (dekan FRI), Urøka Pompe.

Peter Ciuha was born in Ljubljana in 1968. In 1992 he graduated in paint-ing under Prof. Janez Bernik at the Academy of Fine Arts in Ljubljana (his the-sis “Tastes of Chaos”, written under the mentorship of Joæef Muhoviœ, PhD, waspublished in the Happy New Age special issue of Œasopis za kritiko znanosti,Ljubljana, 1992). In 1997 he completed postgraduate studies in graphic art(etching and fractal computer graphics) under Prof. Lojze Logar, and obtainedhis MFA degree from the Academy of Fine Arts. In 2005 he started postgradu-ate studies in video at the Academy of Fine Arts in Ljubljana. His study subjectis visualization of music – an interactive fractal installation, and the course ispartly carried out by the Faculty of Computer Science and Informatics of theLjubljana University. His mentors are Sreœo Dragan, Franc Solina, PhD, (deanof the Faculty of Computer Science and Informatics), and Urøka Pompe. Helives in Ljubljana.

Samostojne razstave / Solo exhibitions

1992 Razstava in 45-minutna video projekcija fraktalnega video filma s predavanjem,KUD France Preøeren, Ljubljana

1993 Klub slovenskih øtudentov, DunajGrafike, diapozitivi in film, Galerija MEDIA NOX, Maribor

1994 Grafike, Quadra imes – Galerija 34, Ljubljana1995 Grafike, animacije, 1. mednarodni festival raœunalniøkih umetnosti, Maribor –

otvoritvena razstava festivala1996 Slike, grafike, film, raœunalniøka interaktivna instalacija in predavanje,

Posavski muzej Breæice, Breæice1997 Grafike, INFOS ‘97, Klub Cankarjevega doma, Ljubljana

Razstava portretov – Osnovna Øola Milana Øuøtarøiœa, Ljubljana1998 Slike, Galerija Kompas, Ljubljana1999 Grafike – Geometrija sprememb, Galerija Hotela Piramida, Maribor –

v okviru 4. Mednarodne konference "Let's Face Chaos through NonlinearDynamics"Grafike, EXPO TOUR / Hotelproject (mednarodni sejem notranje opreme),Fiera di Milano, Milano (razstava je nastala s sodelovanjem med Stamperiaserigrafica Fallani iz Benetk in – Assoziazione Italiana Progettisti inArchitettura d'Interni)

2000 Grafike tiskane v tehnikah Ink-jet na papirju in Aerografija na æametu,Galerie et Librarie Le Lys, Paris

2001 Predstavitev multimedijske grafiœne instalacije »Maternica«,Mestna galerija Ljubljana

2002 Slike in grafike, Institut Joæef Stefan, Ljubljana2004 Slike in risbe na Hanji papirju, prostorska in svetlobna postavitev,

Mala Galerija Kranj»Obraœun pri OK Fraktalu«, Grafike, skupaj z Joæetom Ciuho, GalerijaZDSLU, Ljubljana

2005 Grafike, skupaj z Joæetom Ciuho, Galerie Arts & Communication – GalerieLise Cormery, ParisGrafike, skupaj z Joæetom Ciuho, Galerija Liznjekove domaœijeGornjesavskega muzeja Jesenice, Kranjska GoraGrafike in fraktalne animacije, skupaj z Joæetom Ciuho, Galerija Severia, Koper

2007 Slike na Hanji papirju, »Okroæje«, Galerija Kresija, Ljubljana, skupaj z JirijemKoœico in Polono Maher, prostorska in svetlobna postavitev


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Skupinske razstave / Group exhibtions

1992 Fraktalna animacija, Slovenski video, Galerija ZDSLU, Ljubljana1994 XXVI. International Festival of Painting, Museum-Castle Cagnes-sur-Mer

Jedkanice, Razstava ob 75-letnici Univerze v Ljubljani, Moderna galerija,Ljubljana 3. bienale slovenske grafike, Novo Mesto in Moderna galerija Zagreb

1995 21. mednarodni grafiœni bienale, Moderna galerija, Ljubljana 2. slovenski bienale ilustracije, Galerija Cankarjev dom, Ljubljana

1996 4. bienale slovenske grafike Novo Mesto16. Mini print internacional Cadaques, Taller Galleria Fort, Cadaques, Canetde Mar, Barcelona, Øpanija in Wingfield Arts & Music Festival, Anglija

1997 22. mednarodni grafiœni bienale, Moderna galerija in Razstava nagrajencev21. mednarodnega grafiœnega bienala, Tivolski grad, Ljubljana

1999 Majski salon 1999, Jakopiœevo razstaviøœe in Mestna galerija, Ljubljana 23. mednarodni grafiœni bienale, Jakopiœevo razstaviøœe, Ljubljana7. Intergraf Alpe Adria, Udine12. Norwegian International Print Triennale, Gamle Fredrikstad, Norveøka; Digitalna grafika na papirju, INFOS'99 in Mestna galerija Ljubljana

2000 Galerie et Librarie Le Lys, Pariz2001 »Maternica«, 24. mednarodni grafiœni bienale, Moderna galerija, Ljubljana 2002 Majski salon 2002, Jakopiœevo razstaviøœe, Ljubljana; Aritas–Satira, Seæana

Intergraf Alpe Adria, Videm, Italija2003 Grand Prix–Slovenski nagrajenci v 50-ih letih Ljubljanskega grafiœnega bienala,

Jakopiœevo razstaviøœe, Ljubljana Majski salon 2003, Jakopiœevo razstaviøœe, Ljubljana2. Concorso “Pavia–Giovane Arte Europea”, Castello Visconteo di PaviaSharjah International Arts Biennial, Zdruæeni Arabski Emirati

2004 Majski salon 2004, Jakopiœevo razstaviøœe, LjubljanaAritas–Satira, 4. slovenski trienale satire in humorja, Galerija Krka Ljubljana,Kosovelov dom Seæana, Ømarje pri Jeløah;Welten Slowenischer Graphik, Staedtisches Kunstmuseum Singen, Nemœija inGalerija sodobne umetnosti Celje

2005 XIII Bienal Internacional de Arte, Vila Nova de Cerveira, PortugalskaGrafiœni zvezki, atelje SQART, Videm, Galerija La Roggia, Pordenone inCasa della Confraternita al Castello di Udine, Videm, Italija

2006 Grafiœna sekcija Insula, Galerija Sebastian, Dubrovnik, Galerija XX912Fabrika, Piombino Dese, PadovaVizualizacija glasbe, 12. mednarodni festival raœunalniøkih umetnosti,ArtNetLab, Mestna galerija, Ljubljana, MKC Maribor, Klub »MAMA«,Zagreb, Galerija ESC, Gradec, Avstrija, International Arts and Business

Conference, grad Borl, Dolane Likovna kolonija in Vizualizacija glasbe, Slovenski dom Korotan, Dunaj

2007 Vizualizacija glasbe, Vzporedne Prakse – Razstava 2. letnika podiplomskihøtudentov na ALU, Galerija Miklova hiøa, Ribnica; 13. mednarodni festivalraœunalniøkih umetnosti, ArtNetLab, Mestna galerija, Ljubljana

Nagrade in priznanja / Prizes and awards

1995 Posebno priznanje mednarodne æirije na 21. Mednarodnem grafiœnem bienalu,Ljubljana

2001 Posebno priznanje mednarodne æirije na 24. Mednarodnem grafiœnem bienalu,za Multimedijsko instalacijo »Maternica«, Ljubljana 24. Grafiœni Bienale je prejel ”Premio Nacional de Grabado CalcografieNacional”, Real Accademia de Bellas Artes, San Fernando, Madrid)

Dela v zbirkah / Works in collections

»Kupferstichkabinett« – Grafiœna zbirka dunajske likovne akademije Albertina, Dunaj12. Norwegian International Print Triennale, Hebler Center for International GraphicArt, Gamle Fredrikstad, NorveøkaIntergraf Alpe Adria, Udine, ItalijaMuseo d'Arte Contemporanea, Pavia, ItalijaMuseum Kampa, Praga

Razstavljena dela / List of exhibits

1. Veliki trak vizualizacij: »Od Bacha do Glassa – barvni fragmenti glasbenih del«, 91 x 500 cm, pigmentniink-jet odtis na osvetljeni foliji, 20072. Fraktalna grafika:Ink-jet pigmentni odtis œrnobelih fraktalnih grafik na arhivskem papirju, »Ko pogledam vate sliøim glasbo«, 70 x 100 cm, 2004 3. Vizualizacije glasbe: Bach, Bartok, Glass, Haœaturjan, Mussorgski, 70 x 100 cm, Ink-jet pigmentni odtisna arhivskem papirju in osvetljeni foliji4. Teorija:Barvni kvintni krog, lestvice-mavrice, 70 x 100 cm, Ink-jet pigmentni odtis naarhivskem papirju in osvetljeni foliji5. Prostoroœne:Slike in risbe, v katerih je upodobljeno neposredno posluøanje glasbe, razliœni formati, korejski murvin papir »Hanji« in akvarelni papir


Izdajatelj / PublisherMestna galerija, Ljubljana, SlovenijaZa izdajatelja / For the PublisherAleksander BassinUrednik kataloga / Editor of the catalogueMiloø BaøinBesedilo / TextPeter Ciuha, Lado JakøaAngleøki prevod / English translationTamara SobanJezikovni pregled angleøkega prevoda / English proof-reading Dean DeVos. Lektorica / LecturerAndreja PetekFotografije / PhotographsPeter Ciuha, Alenka Trebuøak in dokumentacija avtorjaOblikovanje / DesignMiloø Baøin, Peter CiuhaFilmi / PhotolitiesDelo ReproTisk / PrintBoriNaklada / Copies 400

Mestna galerija LjubljanaMestni trg 5Slovenija1000 LjubljanaTel. +386 1 24 11 770 Fax. +386 1 24 11 782e mail: mestna. galerija-lj@ siol.netwww.mestna-galerija.si

Enota:Beæigrajska galerija 1, Dunajska 311000 Ljubljana, SlovenijaEnota:Beæigrajska galerija 2, Vodovodna 31000 Ljubljana, Slovenija

Tel. +386 01 436 69 57, 436 40 57 Fax. + 386 01 436 69 58www.mestna-galerija.si

Za izvedbo razstave in kataloga so pokazali posebno razumevanje in naklonjenost:

For their special willigness to assist and theirunderstanding in the execution of the exhibition and the compilation of the catalogue, manythanks are due to:

Mestna obœina Ljubljana – Oddelek za kulturo inraziskovalno dejavnostDelo Repro

Sponzor razstav:

Na ovitku / On the cover

Peter Ciuha »Risanje glasbe – Potovanje œrte – Manu Chao II«, Risba, 21 x 30 cm, 2004Peter Ciuha, “Drawing Music – The Journey of a Line –Manu Chao II”, Risba, 21 x 30 cm, 2004

CIP – Kataloæni zapis o publikacijiNarodna in univerzitetna knjiænica, Ljubljana

75(497.4):929Ciuha P.

CIUHA, PeterBarvna glasba : koncert za klavir in kitaro / Peter Ciuha ;

[besedilo Peter Ciuha, Lado Jakøa ; angleøki prevodTamara Soban ; fotografije Alenka Trebuøak in dokumentacija avtorja]. -Ljubljana : Mestna galerija, 2008

ISBN 978-961-6587-36-5

238093824

Razstava / Exhibition: 5/ 2008, Beæigrajska galerija 1

Peter Ciuha : Barvna glasba : Koncert za klavir in kitaro: Igrate : Vi Programiranje : Bojan Klemenc :Glasbena asistenca : Lado Jakøa

9. april–30. april 2008 / 9 April–30 April 2008



Peter Ciuha Barvna glasba – Bojan Klemencsoppciuh/2008 vizualizacija glasbe - katalog... · je, svetlobe in zvoka pa je opisal armenski mistik G. I. Gurdjijev v tretji knjigi »Belcebubovih

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