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040			_aMAIN
041			_aEnglish
100			_aKargon,Jeremy _963398
245			_aHarmonizing These Two Arts: _bEdmund Lind's The Music of Color / _cJeremy Kargon
260			_aOxford: _bOxford University Press, _c2011.
300			_aVol. 24, Issue 1, 2011( 1–14 p. )
310			_aQuarterly
520			_aWritten and illustrated in 1894 by British-born American architect Edmund Lind, the unpublished essay titled The Music of Color includes elaborate graphic representations of musical scores and spoken word. These plates are today often described as early depictions of Lind's own synæsthesia, and are considered among the earliest artistic expressions of that phenomenon. A review of the original text suggests, however, that Lind's method was notational and that Lind himself had no personal experience of synæsthesia. In fact, Lind's view of art and science remained firmly anchored in earlier nineteenth-century sources. Two particular works, cited by Lind in his essay, represent alternative cross-currents among that period's many speculative links between music and colour. In addition, Lind's architectural education in London occurred at the height of the Victorian-era ‘design reform’ movement, which sought to revolutionize the visual character of England's material culture. The reformers’ appeal to abstract structure, as embodied in their study of botany and quasi-scientific theories of colour, was an implicit source of Lind's later fascination with music's representation through visual means. The Music of Color anticipated the graphic experiments of a later generation's avant-garde, especially among those art movements founded in the wake of increasing challenges to traditional modes of perception.
650			_aDesign Reform Movement _y19th Century _zEurope _963399
650			_aDesign Theory _963400
650			_aRepresentation
773	0		_09229 _913522 _dOxford Oxford University Press _oJ000329 _tJournal of design history _x0952-4649
856			_u https://doi.org/10.1093/jdh/epq042
942			_cART
999			_c15345 _d15345