Frédéric Bonpapa, graphiste 3D et réalisateur de l’animation synesthésique Light Motif propose une compilation – non exhaustive – d’oeuvres qui établissent des liens entre les sons et les images.

Les classiques de la visualisation musicale, qui restent de grandes sources d’inspiration :

Oskar Fischinger – Studie nr 8 (1931)

Oskar Fischinger – An Optical Poem (1938) :

Norman McLaren – Dots (1940) :

Norman McLaren – Boogie Doodle (1941) :

Norman McLaren – A Phantasy in Colors (1949) :

Norman McLaren – Synchromy (1971) :

John Whithney, musicien et pionnier de l’animation par ordinateur, a exploré l’harmonie et le lien entre mathématique et musique qui se révèle sous nos yeux :

John Whitney – Matrix III (1972) :

John Whitney – Arabesque (1975) :

Des films plus récents qui m’ont particulièrement marqué et qui renouvellent le genre :

Alex Rutterford – Gantz Graf (2002) :

Sam Smith – Boards of Canada, June 9th (2002) :

Les installations de Ryoji Ikeda, immersion et hautes fréquences :

Ryoji Ikeda – test pattern [nº5] (2013) :

Un portrait de Brian Eno dans lequel il nous parle de paysages sonores :

Brian Eno – Imaginary Landscapes:

DAVID MITCHELL: Are you synesthetic? Do you think music can convey emotion because music is a form of universal synesthesia? In my limited case, days of the week and common male names have colors.

BRIAN ENO: I don’t think I’d call myself synesthetic, although I do think of sounds in terms of temperature and brightness and hard-edgedness and angularity. Is that being synesthetic? I don’t seem to have an invariable and involuntary set of responses of the kind you and Nabokov have—a “the letter d is dusty olive green” kind. I do, however, have extremely strong responses to certain “aesthetic” things. I am made furious, for example, by a minor chord lazily used in songwriting, or a throwaway middle eight written just for “variety.” I despise variety for its own sake. My friends and colleagues find the extremity of my reactions very amusing. Conversely, I am always deeply moved by certain combinations of sound or color—sky blue and light chocolate brown, for example. But there are thousands of others! I have spent a lot of time wondering where those strong preferences come from.


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