Peter Ciuha Barvna glasba Koncert za klavir in kitaro

Transcription

1 ciuha katalog :42 Page 1 Peter Ciuha Barvna glasba Koncert za klavir in kitaro Bojan Klemenc Programiranje Lado Jakøa Glasba

2 ciuha katalog :42 Page 2 Barvna glasba Koncert za klavir in kitaro Priœujoœi projekt je rodila æelja po barvnem pripomoœku, ki bi olajøal ali celo omogoœil igranje glasbe nekomu, ki ni izuœen glasbenik. Tako sem iskal moæne vire in navdihe ter uvidel, da gre za starodavni interes o povezavi med glasbo in barvo ali toni in barvami. Newtonova delitev tonov in barv, 1704 Pred tristo leti je Newton s prizmo razdelil æarek sonœne svetlobe na mavriœne barve ter doloœil sedem osnovnih barv, tako da so se ujemale s sedmimi toni oktave. Kmalu za njim je L. B. Castel napovedal barvni klavir, ki bo nekoœ del vsakega pariøkega doma. Le-ta bo imel barvne tipke, prav tako pa bo svetlobo Barvne orgle, A. W. Remington, 1893, tipke SLIKA 1 projiciral v prostor. Najbolj skrajno vizijo o povezanosti materije, svetlobe in zvoka pa je opisal armenski mistik G. I. Gurdjijev v tretji knjigi»belcebubovih pripovedk svojemu vnuku«, kjer je opisal inøtrument, ki je ton spremenil v barvno svetlobo, barvno svetlobo v ton, hkrati pa je zmogel alkimistiœno pretvarjati nekatere kemiœne snovi v druge. Fragmenti takih verovanj se vraœajo kljub enotnemu mnenju skoraj vseh znanstvenikov vpletenih strok, ki vztrajajo na jasni loœitvi in specifiœnosti svojih disciplin. Primer take kritike je izjava, da je edino, kar je skupno tem»znanstvenikom«to, da vsak misli, da se je tega spomnil prvi, da bo edini naøel konœni in pravilni odgovor, odreøil œloveøtvo teme in neznanja, ter da se vsi ostali povsem motijo. Tako ni sluœaj, da je morda najdrznejøi poskus realizacije te ideje Skrjabinov Prometej, ki mu je pomenil tudi rojstvo nove religije. Blizu je tudi Wagner s svojo predstavo o»gesamtkunstwerku«ali umetniøkem delu za vse œute. Danes stanje tehnologije omogoœa neskonœno raznolikost povezav med glasbo in barvo, najveœkrat brez odreøenjskih 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. SLIKA2 Situacija je rahlo kaotiœna a vendarle zanimiva. Dodan pa je tudi SLIKA3 krog intervalov oktave v barvah Josefa Mathiasa Hauerja, ki je pred Schoenbergom izpeljal teorijo komponiranja s kromatiœnimi toni. Z J. Ittnom, profesorjem na Bauhausu, sta æelela razøiriti program øole z glasbenim inøtitutom. Øe bolj znana profesorja sta bila slikarja Paul Klee in Vasilij Kandinski. Svoje abstraktne risbe in slike sta kot glasbenika in mistika globoko povezovala z urejenostjo glasbe. Seveda o barvnih lestvicah sinestetiœnih glasbenikov teæko razpravljamo, ker so posledica neposrednega videnja ali doæivetja. Temeljne zakone harmonije je zapisal Pitagora, ki je trdil, da so kot preprosta matematiœna sorazmerja, npr. 1 : 2, 2 : 3, 3 : 4... med frekvencami tonov ali dolæinami strun. Harmonija, ki jo mnogokrat doæivljamo kot œustveni del glasbe, je tako postala del matematiœne urejenosti kozmosa in œloveka mikrokozmosa. Œustveni del vidnega vesolja pa so seveda barve, ki v naravi oznaœujejo stanja stvari ali bitij. Res pa je, da so matematiœno slabøe doloœene kakor toni. A kar vemo, je to, da lahko vse mavriœne barve poveæemo v skoraj sklenjen krog, podobno kakor je Pitagora povezal tone v krog enajstih œistih kvint (kvinta je peti ton oktave) in zadnje,»volœje«kvinte. Novoveøki razum je kasneje napako enakomerno razdelil med vse tone in ustvaril danaønjo»temperirano«tonsko lestvico. Tudi barvni krog so sklenili z novo, v mavrici manjkajoœo barvo, ki so jo poimenovali po Napoleonovi bitki pri kraju Magenta. To barvo v naravi uzremo, ko se sreœata zaœetek in konec dveh mavric. SLIKA4 Na kvintnem krogu vidimo, da je sedem tonov oktave skupaj, pet poltonov pa sledi oziroma so»nasproti«veœine belih. Ta delitev zelo spominja na delitev toplih in hladnih barv v naravi ter barvnem krogu. Po njej je izpeljana osnovna barva vsakega tona. SLIKA 5 Sœasoma pa se je glasbeno pojmovanje harmonije bistveno razøirilo od prvotne œiste oktave in kvinte ter vkljuœilo øe terco (tretji ton v oktavi) v tako imenovani akord. A terca ne razdeli intervala (obsega) kvinte simetriœno, tako da govorimo o dveh tercah veliki in mali, ki sta enako harmoniœni, a doæivljajsko zelo razliœni. Tonsko razliko med njima lahko prikaæemo z drugo barvo. SLIKA6 Tako lahko le z dvema barvama v znaku sestavljamo 12 durovih in 12 molovih 2

3 ciuha katalog :42 Page 3 H. Neugeboren, grafiœna upodobitev Bachove fuge, osnova za Bachov spomenik akordov, ali povedano preprosteje, sestavljamo harmonije brez pretiranega razmiøljanja 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, kar odpre vrata igranju glasbe po barvnem kljuœu. Beseda klavir izhaja iz besede clavi, kar pomeni... kljuœ. In tudi te barvne znake lahko poveæemo v mavriœna zaporedja. SLIKA7 Barvni kljuœ za klavir in kitaro je natisnjen æe na vabilu, z æeljo, da ga prejemnik sam preizkusi in uporabi ter na razstavi sodeluje pri»barvnem koncertu za klavir in kitaro«. Kaj œe bi obiskovalci in glasbeniki zaigrali skupaj s pomoœjo barvnega kljuœa? Morda bodo obiskovalci glasbenike vodili iz ene barve v drugo, ti pa bodo znotraj tako doloœenih akordov svobodno ritmiœno in melodiœno improvizirali ali izvedli»barvno pentatoniko«. Kolikor bo mogoœe, bodo inøtrumenti povezani z raœunalnikom, ki bo istoœasno projiciral 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 bo nihœe uporabljal. Raœunalniøki program, ki prevaja glasbo v sliko, nastaja v okviru magistrskega øtudija videa na ljubljanski Akademiji za likovno umetnost pri mentorju Sreœu Draganu. Posebnost tega øtudija je povezava s Fakulteto za raœunalniøtvo in informatiko, kjer øtudenti dr. Franca Soline pri predmetu Metode komuniciranja uresniœujejo raœunalniøki del projektov øtudentov videa. Glasbena mentorica je Urøka Pompe. Prvi prototip programa je izdelal predvsem Strahil Georgiev, sedanji program pa je delo Bojana Klemenca, ki je te sanje spremenil v resniœnost. Primer: kompoziciji Bacha in Bartoka, na strani 6 in 7. Seveda pa sedanja realizacija øe ni konec poti, prej zaœetek. Œe æelimo v barvo spremeniti poljubno kombinacijo tonov, bi lahko rekli, da iøœemo eno izmed sedmih milijonov barv, ki jih vidi oko. Nato je potrebno upodobiti melodijo ta se kot ena ali veœ œrt (glasov) giblje med harmoniœno privlaœnimi in odbijajoœimi se toni, ritem ki strukturira œas in vanj umeøœa zvoœne dogodke podobno kot so barvne oblike umeøœene v prostor, ter»barve tona«, ki vkljuœuje instrumentalni karakter glasbe in znaœilnosti izvedbe, saj se da do istega tona priti na 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/melodije 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 raœunalniøke fraktalne grafike. Prviœ razstavljam risbe in slike, v katerih sem neposredno upodabljal glasbo. Œutim jih kot intuitivne svetilnike, ki me vodijo pri iskanju zakonitosti. Fraktalne grafike, 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, hvaleæen vsem, ki so ta dogodek omogoœili øe posebej Miloøu Baøinu in Beæigrajski galeriji 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 glasbenikom Ladom Jakøo, ki se ga zelo veselim. Skupaj vstopamo v œudovito pomlad, ki nas spominja, da enkratno æivljenje rojeva umetnost, ta pa je le oblika osnovne rdeœe niti... Peter Ciuha 3

4 ciuha katalog :42 Page 4 Color Music Concert for Piano and Guitar This project stems from my desire to create a color aid that would make playing music easier, or perhaps even possible, for people not trained as musicians. Seeking potential sources and inspirations I realized my interest derived from the ageold fascination with the relations between music and color, or tones and colors. Three hundred years ago, Sir Isaac Newton separated with a prism a ray of sunlight into spectral colors and determined the seven basic colors, to match the seven tones of the octave. Not long after that, Louis Bertrand Castel proposed the construction of a color piano that he believed would some day have its Newton s division of tones and colors, 1704 place in every Parisian home; it would have color keys and would furthermore project light into the room. The color organ, A. W. Remington, 1893, keys The most extreme vision of the interconnectedness between matter, light, and sound is described in the third volume of Beelzebub s Tales to His Grandson by the Armenian mystic G. I. Gurdjieff, as an instrument that changes a tone into color light, and color light into a tone, with both being capable of alchemically transforming certain chemical substances into others. Fragments of such beliefs persist, despite the virtually unanimous agreement of all scientists from pertinent fields that their respective disciplines are distinctly separate and specific. A frequent criticism is that the only thing such pseudoscientists as the above have in common is their conviction that each of them is the first one to have come up with this idea, that they and they alone can find the only and ultimately correct answer, thus enlightening humanity and delivering it from ignorance, and that everyone else is entirely wrong. The possibly most daring attempt to put this idea into practice is, not by accident, Alexander Scriabin s Prometheus, which signified also the birth of a new religion for the composer. Also Wagner 4 comes close with his notion of the Gesamtkunstwerk, a work of art for all the senses. Today, the advanced state of technology allows endlessly diverse connections between 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, so as a consequence it most often serves as fun. Let us examine the range of the realizations of color scales over the last three hundred years. Although slightly chaotic, the situation is quite interesting. There is the circle of intervals of the octave in colors by Josef Matthias Hauer, who devised his method for 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 music institute. Even more renowned teachers there were the painters Paul Klee and Wassily Kandinsky, who as musicians and mystics related their abstract drawings and paintings at a profound level with the order of music. The color scales of synesthetic musicians are naturally hard to discuss, since they result from something directly seen or experienced. The basic laws of harmony were laid out by Pythagoras, who claimed they were like simple whole number ratios, e.g., 2:1, 3:2, 4:3 etc., between the frequencies of the tones, or, the lengths of the strings. Harmony, often experienced as the emotional part of music, thus became part of the mathematical order ruling the cosmos and 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, mathematically less precisely defined than tones. But what we do know is that the spectral colors can be united into an almost full circle, similarly as Pythagoras had brought together the tones into a circle of eleven pure fifths (the fifth being the fifth tone of the octave) and the final wolf fifth. Later knowledge adjusted the anomaly by distributing it equally between all tones and creating the modern tempered tone scale. Also the color circle was made whole with the addition of magenta, an extraspectral color named after the dye discovered near the town of Magenta shortly after Napoleon III s victory in the Battle of Magenta. In nature we can observe this color 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 distribution is rem-iniscent of the distribution of warm and cool colors in nature and in the color circle. The basic colors of individual tones are derived from it.

5 ciuha katalog :42 Page 5 Over time the musical concept of harmony expanded from the initially pure octave and fifth to include the third (the third tone in the octave) in the so-called chord. But a third does not divide the interval of a fifth symmetrically, and for this reason we speak of two thirds: a major third and a minor third, both harmonious, but experientially very different. The tonal difference between them can be represented by a different color. The two colors are brought together in a color symbol, like the ones printed on the invitation, with the major key color being the outer or the background color of 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 choose tones by their colors. A perfect harmony consists of three tones whose colors are most similar, played at the same time. We can thus compose twelve major and twelve minor chords with only two colors in a symbol, or in simpler terms, compose harmonies without having to think too hard about it: it is enough to follow similar colors. A major chord consists of two most similar exterior colors and the intermediate color of an interior shape, e.g., C, e, G, while a minor chord consists of two most similar interior-shape colors and the intermediate exterior color, e.g., c, E-flat, g. In this way similarities between colors represent sound (harmonic) relations, and this 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 the hope that the people who receive it will try it out for themselves and thus take part in the color concert for piano and guitar at the show. What if visitors and musicians played together with the aid of the color key? The visitors might lead the musicians from one color to the next, while the musicians might freely improvise with rhythm and melody within the chords thus determined, or perform color pentatonics. To the extent possible, the instruments will be hooked up to a computer that will project a color image of the music played, so that we can enjoy also a visible form of the audible. Prints of the visualizations of musical works will be displayed. These will be drawn and played by the computer when nobody is using the instruments connected to it. H. Neugeboren, a graphic representation of a Bach fugue, the basis for a Bach monument This computer program that translates music into images is being developed as part of the postgraduate studies for an MFA degree in video under the mentorship of Sreœo Dragan. What is particular about these studies is that they are being carried out in collaboration with the Faculty of Computer Science and Informatics, where the students of Franc Solina, PhD, in his Methods of Communication class, find computer solutions for the projects of the students of Video at the Academy. The mentor for music is Urøka Pompe. The first prototype of the program was designed primarily by Strahil Georgiev, while the program currently used is the work 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 a color, we could say that we are looking for one of the seven million colors the eye can see. But we also need to represent a melody which moves as one or several lines (sounds) between harmonically attractive or repellent tones ; rhythm which structures time, positioning sound events in it, similarly as forms are positioned in space; and tone colors which include the instrumental character of music and the characteristics of an individual performance, since the same tone can be reached in many different ways and be creatively colored. Studying melody and rhythm broaches also the issue of the interconnectedness of a part with the whole, i.e., composition. This can be structured as the journey of 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 dramatic, 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 5

6 ciuha katalog :42 Page 6 ZVOK BARVE BARVA ZVOKA Glasbeniki se ves œas gibljemo sredi barvnega spektra, saj je barva ena bistvenih izraznih moænosti zvoka. Vendar v zaœetnih, øe posebej bistvenih obdobjih ukvarjanja z glasbo o tem ne izvemo skoraj niœ, œeprav so otroci v tem smislu izjemno dojemljivi in likovno ustvarjalni. Kasneje nas øele øtudij glasbene kompozicije pripelje do globljega spoznavanja barvne zvoœnosti. Niœ presenetljivega ni, da mnogi skladatelji, avtorji sodobnih glasbenih partitur ne skrivajo likovnih ambicij in da obstaja v svetu kar nekaj institucij, ki se intenzivno ukvarjajo z»glasbeno grafiko«, zbiranjem, hranjenjem in razstavljanjem partitur, ki poleg glasbene izkazujejo tudi likovno izvirnost in kvaliteto. Osebna intuicija in sinestetiœna radovednost lahko tukaj spontano odkrivata nove veœmedijske svetove, zgodovina glasbe ter likovne umetnosti pa nam kaæeta dolgo vrsto poskusov raziskovanja vzporednic obeh umetnosti. Avtor razstave jih je pazljivo prouœeval in nekaj bistvenih tudi predstavil v svojem uvodnem zapisu. Kako otroci pri ustvarjalnih delavnicah navduøeno intuitivno sledijo glasbi z barvami in oblikami, lahko vidimo na izbranih razstavah njihovih likovnih del, ki pogosto kaæejo takøno stopnjo inventivnosti, da se ob njih povpreœni ljubiteljski slikarji lahko krepko zamislijo. Ob tem ves œas sreœujem likovnike, ki se intenzivno odzivajo na glasbo, jo doæivljajo kot navdih in nekakøno»partituro«svojih slik, jaz sam pa si likovna dela pogosto izbiram za partiture glasbenih kompozicij in improvizacij. Pri tem je seveda zgolj barvna odzivnost na zvoke premalo, saj ima glasbeno tkivo øe vrsto drugih, 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 zanimiv le za»manj veøœe«glasbenike, ki bi se poigravali z»barvno klaviaturo«ali»barvno kitaro«, temveœ tudi odliœen ustvarjalni pripomoœek za zvoœno-barvno raziskovanje bolj kompleksnih glasbenih vsebin. Na podlagi avtorjevih predstavljenih del lahko opazimo veliko sorodnost»barvnega branja«posameznih not, intervalov in harmonij njegovega»digitalno«vodenega programa (izdelan skupaj s sodelavcema Strahilom Georgievim in Bojanom Klemencem) s sicer v glasbeni zgodovini za»subjektivne«oznaœenimi zapisi pomembnih skladateljev, ki so sinestetiœno doæivljali svet okoli sebe in to izkuønjo uresniœili v svojih glasbenih delih. Verjetno si nihœe od tistih, ki jih Peter Ciuha omenja v svojem besedilu, ne lasti pravice o edini in konœni objektivnosti svojih sinestetiœnih raziskav, je pa ta poskus avtorja mnogim pribliæal to zapeljivo moænost muziciranja z barvo. Z vedno bolj izpopolnjeno tehniko digitalnega barvnega prikaza glasbe v likovni obliki in to kar neposredno ter sprotno se odpirajo nove ustvarjalne moænosti umetniøkega spoja obeh medijev. Kot je neskonœna paleta tonskih in»barvnih«moænosti akustiœnih instumentov, øe posebno, ko se spustim v subtilno»nanotkivo«alikvotnih tonov ali pa v kompleksno harmonijo poltonov in œetrtonov ter»muzikalnih«øumov in ropotov, tako je vabljiva tudi struktura dinamiœne in ritmiœne likovne odslikave glasbe. Tudi na tem podroœju digitalni navdih øe ni rekel zadnje besede in likovni zapis tako sofisticirane glasbe øe œaka na bolj natanœno in hkrati bolj estetsko realizacijo. Kako daleœ lahko pripelje izpopolnjevanje te digitalne magije spajanja akustiœnega in likovnega, ostaja skrivnost, a skupaj s Petrom Ciuho se æe vnaprej veselimo odprtih razseænosti njegovega navdiha. Lado Jakøa Slika 1 A. W. Remington barvne tipke in njihov notni zapis / A. W. Remington color keys and their notation Slika 2 Barvne povezave z glasbenimi toni v tristo letih / Connections between colors and musical tones over three hundred years Slika 3 Barvni krog tonskih intervalov oktave J. M. Hauerja (z dodanimi barvnimi kockami 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 the twelve semitones Slika 7 Umestitev barvnih znakov P. Ciuhe v tri mavriœna zaporedja / The arrangement of P. Ciuha s color symbols into three spectral sequences 6

7 ciuha katalog :42 Page 7 Slika 3 Slika 5 Slika 4 Slika 2 Slika 6 Slika 1 Slika 7

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10 ciuha katalog :42 Page 10 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 10

11 ciuha katalog :42 Page 11 THE SOUND OF COLOR THE COLOR OF SOUND Musicians constantly move about the color spectrum, since color is one of the major possibilities in expression with sound. In our early, formative years of involvement with music, though, we hear precious little about that, despite the fact that children are particularly susceptible to this aspect of music and very pictorially creative in relation to it. Only when beginning to study musical composition do we get an opportunity to delve into color sonority. Not surprisingly, many composers of 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 collecting, keeping, and exhibiting musical graphic art, i.e., scores that display originality and quality both as music and as art. Personal intuition and synesthetic curiosity can lead to spontaneous discoveries of new multimedia worlds, and the histories of music and fine art provide us with a profusion of examples of attempts to find parallels between the two art forms. The author of the present exhibition has studied them closely, presenting some of the crucial ones in his introductory text. The selected exhibits of children s art clearly indicate the enthusiasm with which children intuitively follow music with colors and forms at creative workshops, and their works often display a level of inventiveness that could put average adult amateur painters to shame. I frequently come across artists who intensely react to music, experiencing it as an inspiration and some kind of score for their works. By the same token, I often choose 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 a number 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 as an 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 explorations of more complex musical contents. The artist s presented works display a great similarity in terms of the color reading of individual notes, intervals, and harmonies by his digitally run program (designed in collaboration with Strahil Georgiev and Bojan Klemenc) with historically categorized as subjective writings by great composers who experienced the world around them synesthetically and put this experience into their music. Probably none of the people mentioned in Peter Ciuha s text would claim their synesthetic explorations to be exclusively and ultimately objective; what the artist accomplished with his trial was to present to many the tempting possibility of making music with colors. The increasingly advanced technologies for digital color 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 complex harmonies of semitones or quarter tones and musical noises and clashes; equally appealing is the structure of a dynamic and rhythmic visual representation of music. The digital inspiration in this domain has not yet been exhausted, and visual representations of sophisticated music have yet to see more precise and also more esthetic realizations. Just how far the advancement of this digital magic in fusing the acoustic and the visual can go remains a mystery, but together with Peter Ciuha we are already looking forward to the options opened up by his inspiration. Lado Jakøa 11

12 ciuha katalog :42 Page 12 Peter Ciuha»Risanje glasbe Potovanje œrte Manu Chao I«, Risba, 21 x 30 cm, 2004 Peter Ciuha, Drawing Music The Journey of a Line Manu Chao I, Risba, 21 x 30 cm,

13 ciuha katalog :42 Page 13 Peter Ciuha je bil rojen leta1968 v Ljubljani. Leta1992 je zakljuœil øtudij na Akademiji za likovno umetnost v Ljubljani (smer slikarstvo, pri Janezu Berniku, teoretiœna diplomska naloga»okusi Kaosa«pri dr. Joæefu Muhoviœu je objavljena v izdaji»happy New Age«Œasopisa za kritiko znanosti, Ljubljana Leta1997 je zakljuœil specialistiœni øtudij grafike (jedkanice in fraktalne raœunalniøke grafike) na ALU pri Lojzetu Logarju, kjer je tudi konœal magisterij umetnosti leta Leta 2005 je vpisal magistrski øtudij Videa, tema: Vizualizacija glasbe Interaktivna Fraktalna inøtalacija, na ALU, ki poteka skupaj s Fakulteto za Informatiko v Ljubljani (FRI), mentorji: Sreœo Dragan, dr. Franc Solina (dekan FRI), Urøka Pompe. Peter Ciuha was born in Ljubljana in In 1992 he graduated in painting under Prof. Janez Bernik at the Academy of Fine Arts in Ljubljana (his thesis Tastes of Chaos, written under the mentorship of Joæef Muhoviœ, PhD, was published 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 obtained his MFA degree from the Academy of Fine Arts. In 2005 he started postgraduate studies in video at the Academy of Fine Arts in Ljubljana. His study subject is visualization of music an interactive fractal installation, and the course is partly carried out by the Faculty of Computer Science and Informatics of the Ljubljana University. His mentors are Sreœo Dragan, Franc Solina, PhD, (dean of the Faculty of Computer Science and Informatics), and Urøka Pompe. He lives 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, Dunaj Grafike, diapozitivi in film, Galerija MEDIA NOX, Maribor 1994 Grafike, Quadra imes Galerija 34, Ljubljana 1995 Grafike, animacije, 1. mednarodni festival raœunalniøkih umetnosti, Maribor otvoritvena razstava festivala 1996 Slike, grafike, film, raœunalniøka interaktivna instalacija in predavanje, Posavski muzej Breæice, Breæice 1997 Grafike, INFOS 97, Klub Cankarjevega doma, Ljubljana Razstava portretov Osnovna Øola Milana Øuøtarøiœa, Ljubljana 1998 Slike, Galerija Kompas, Ljubljana 1999 Grafike Geometrija sprememb, Galerija Hotela Piramida, Maribor v okviru 4. Mednarodne konference "Let's Face Chaos through Nonlinear Dynamics" Grafike, EXPO TOUR / Hotelproject (mednarodni sejem notranje opreme), Fiera di Milano, Milano (razstava je nastala s sodelovanjem med Stamperia serigrafica Fallani iz Benetk in Assoziazione Italiana Progettisti in Architettura 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, Ljubljana 2004 Slike in risbe na Hanji papirju, prostorska in svetlobna postavitev, Mala Galerija Kranj»Obraœun pri OK Fraktalu«, Grafike, skupaj z Joæetom Ciuho, Galerija ZDSLU, Ljubljana 2005 Grafike, skupaj z Joæetom Ciuho, Galerie Arts & Communication Galerie Lise Cormery, Paris Grafike, skupaj z Joæetom Ciuho, Galerija Liznjekove domaœije Gornjesavskega muzeja Jesenice, Kranjska Gora Grafike in fraktalne animacije, skupaj z Joæetom Ciuho, Galerija Severia, Koper 2007 Slike na Hanji papirju,»okroæje«, Galerija Kresija, Ljubljana, skupaj z Jiřijem Koœico in Polono Maher, prostorska in svetlobna postavitev 13

14 ciuha katalog :42 Page 14 Skupinske razstave / Group exhibtions 1992 Fraktalna animacija, Slovenski video, Galerija ZDSLU, Ljubljana 1994 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 mednarodni grafiœni bienale, Moderna galerija, Ljubljana 2. slovenski bienale ilustracije, Galerija Cankarjev dom, Ljubljana bienale slovenske grafike Novo Mesto 16. Mini print internacional Cadaques, Taller Galleria Fort, Cadaques, Canet de Mar, Barcelona, Øpanija in Wingfield Arts & Music Festival, Anglija mednarodni grafiœni bienale, Moderna galerija in Razstava nagrajencev 21. mednarodnega grafiœnega bienala, Tivolski grad, Ljubljana 1999 Majski salon 1999, Jakopiœevo razstaviøœe in Mestna galerija, Ljubljana 23. mednarodni grafiœni bienale, Jakopiœevo razstaviøœe, Ljubljana 7. Intergraf Alpe Adria, Udine 12. Norwegian International Print Triennale, Gamle Fredrikstad, Norveøka; Digitalna grafika na papirju, INFOS'99 in Mestna galerija Ljubljana 2000 Galerie et Librarie Le Lys, Pariz 2001»Maternica«, 24. mednarodni grafiœni bienale, Moderna galerija, Ljubljana 2002 Majski salon 2002, Jakopiœevo razstaviøœe, Ljubljana; Aritas Satira, Seæana Intergraf Alpe Adria, Videm, Italija 2003 Grand Prix Slovenski nagrajenci v 50-ih letih Ljubljanskega grafiœnega bienala, Jakopiœevo razstaviøœe, Ljubljana Majski salon 2003, Jakopiœevo razstaviøœe, Ljubljana 2. Concorso Pavia Giovane Arte Europea, Castello Visconteo di Pavia Sharjah International Arts Biennial, Zdruæeni Arabski Emirati 2004 Majski salon 2004, Jakopiœevo razstaviøœe, Ljubljana Aritas Satira, 4. slovenski trienale satire in humorja, Galerija Krka Ljubljana, Kosovelov dom Seæana, Ømarje pri Jeløah; Welten Slowenischer Graphik, Staedtisches Kunstmuseum Singen, Nemœija in Galerija sodobne umetnosti Celje 2005 XIII Bienal Internacional de Arte, Vila Nova de Cerveira, Portugalska Grafiœni zvezki, atelje SQART, Videm, Galerija La Roggia, Pordenone in Casa della Confraternita al Castello di Udine, Videm, Italija 2006 Grafiœna sekcija Insula, Galerija Sebastian, Dubrovnik, Galerija XX912 Fabrika, Piombino Dese, Padova Vizualizacija 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 podiplomskih øtudentov na ALU, Galerija Miklova hiøa, Ribnica; 13. mednarodni festival raœunalniøkih 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 Calcografie Nacional, Real Accademia de Bellas Artes, San Fernando, Madrid) Dela v zbirkah / Works in collections»kupferstichkabinett«grafiœna zbirka dunajske likovne akademije Albertina, Dunaj 12. Norwegian International Print Triennale, Hebler Center for International Graphic Art, Gamle Fredrikstad, Norveøka Intergraf Alpe Adria, Udine, Italija Museo d'arte Contemporanea, Pavia, Italija Museum Kampa, Praga Razstavljena dela / List of exhibits 1. Veliki trak vizualizacij:»od Bacha do Glassa barvni fragmenti glasbenih del«, 91 x 500 cm, pigmentni ink-jet odtis na osvetljeni foliji, Fraktalna grafika: Ink-jet pigmentni odtis œrnobelih fraktalnih grafik na arhivskem papirju,»ko pogledam vate sliøim glasbo«, 70 x 100 cm, Vizualizacije glasbe: Bach, Bartok, Glass, Haœaturjan, Mussorgski, 70 x 100 cm, Ink-jet pigmentni odtis na arhivskem papirju in osvetljeni foliji 4. Teorija: Barvni kvintni krog, lestvice-mavrice, 70 x 100 cm, Ink-jet pigmentni odtis na arhivskem papirju in osvetljeni foliji 5. Prostoroœne: Slike in risbe, v katerih je upodobljeno neposredno posluøanje glasbe, razliœni formati, korejski murvin papir»hanji«in akvarelni papir 14

15 ciuha katalog :42 Page 15 Izdajatelj / Publisher Mestna galerija, Ljubljana, Slovenija Za izdajatelja / For the Publisher Aleksander Bassin Urednik kataloga / Editor of the catalogue Miloø Baøin Besedilo / Text Peter Ciuha, Lado Jakøa Angleøki prevod / English translation Tamara Soban Jezikovni pregled angleøkega prevoda / English proof-reading Dean DeVos. Lektorica / Lecturer Andreja Petek Fotografije / Photographs Peter Ciuha, Alenka Trebuøak in dokumentacija avtorja Oblikovanje / Design Miloø Baøin, Peter Ciuha Filmi / Photolities Delo Repro Tisk / Print Bori Naklada / Copies 400 Mestna galerija Ljubljana Mestni trg 5 Slovenija 1000 Ljubljana Tel Fax e mail: mestna. galerija-lj@ siol.net Enota: Beæigrajska galerija 1, Dunajska Ljubljana, Slovenija Enota: Beæigrajska galerija 2, Vodovodna Ljubljana, Slovenija Tel , Fax 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 Na ovitku / On the cover Peter Ciuha»Risanje glasbe Potovanje œrte Manu Chao II«, Risba, 21 x 30 cm, 2004 Peter Ciuha, Drawing Music The Journey of a Line Manu Chao II, Risba, 21 x 30 cm, 2004 Za izvedbo razstave in kataloga so pokazali posebno razumevanje in naklonjenost: For their special willigness to assist and their understanding in the execution of the exhibition and the compilation of the catalogue, many thanks are due to: Mestna obœina Ljubljana Oddelek za kulturo in raziskovalno dejavnost Delo Repro Sponzor razstav: CIP Kataloæni zapis o publikaciji Narodna in univerzitetna knjiænica, Ljubljana 75(497.4):929Ciuha P. CIUHA, Peter Barvna glasba : koncert za klavir in kitaro / Peter Ciuha ; [besedilo Peter Ciuha, Lado Jakøa ; angleøki prevod Tamara Soban ; fotografije Alenka Trebuøak in dokumentacija avtorja]. - Ljubljana : Mestna galerija, 2008 ISBN

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