The Dead Media Notebook (80 page)

“One work was the Fifth Symphony, which Scriabin named ‘Prometheus: The Poem of Fire.’ This had an elaborate program, ending with the world’s beginning and a cosmic dance of the atoms.

In addition to the full symphony orchestra, ‘Prometheus’ used a piano, a chorus, and a color organ. It was Scriabin’
s first actual attempt to synthesize music and colors, and he worked out a chart:

Note
      
Hz
      
Color

C
      
      
256
      
Red

C#
      
277
      
Violet

D
      
      
298
      
Yellow

D#
      
319
      
Glint of Steel

E
      
      
341
      
Pearly white and shimmer of moonlight

F
      
      
362
      
Deep red

F#
      
      
383
      
Bright blue

G
      
      
405
      
Rosy orange

G#
      
426
      
Purple

A
      
      
447
      
Green

A#
      
469
      
Glint of steel (for some reason, the same as D sharp)

B
      
      
490
      
Pearly blue

“Koussevitzky conducted the world premiere of ‘Prometheus’ in Moscow, on March 2, 1911. But there was no color organ; the instrument turned out to be impractical and was dropped..Scriabin spent a great deal of time working on the ‘Mysterium’—not composing any music, but thinking about its locale and the extramusical accompaniments to the spectacle. The ‘Mysterium’ involved the end of the world and the creation of a new race of man. At the climax of the ‘Mysterium’ the walls of the universe would cave in. ‘I shall not die,’ Scriabin said.

“I shall suffocate in ecstasy after the ‘Mysterium’.”.He wanted his ‘Mysterium’ to be performed in a temple in India, a temple hemispherical in shape. As Bowers describes the ‘Mysterium’:

‘Bells suspended from the clouds in the sky would summon the spectators from all over the world.

The performance was to take place in a holy temple to be built in India. A reflecting pool of water would complete the divinity of the half- circle stage. Spectators would sit in tiers across the water.

Those in the balconies would be the least spiritually advanced.

The seating was strictly graded, ranking radially from the center of the stage, where Scriabin would sit at the piano, surrounded by hosts of instruments, singers, dancers.

The entire group was to be permeated continually with movement, and costumed speakers reciting the text in processions and parades would form parts of the action.

The choreography would include glances, looks, eye motions, touches of the hands, odors of both pleasant perfumes and acrid smokes, frankincense and myrrh.

Pillars of incense would form part of the scenery. Lights, fires, and constantly changing lighting effects would pervade the cast and audience, each to number in the thousands.

This prefaces the final ‘Mysterium’ and prepares people for their ultimate dissolution in ecstasy.’

“Goodness knows how far Scriabin would have gone with the project. But Scriabin died while all of the Mysterium was in his head. He died in a ridiculous manner.

People like him should go up in a blaze of fire. Scriabin died from blood poisoning, the result of a carbuncle on his lip.”

[Philip notes: 1. He did compose a piece called ‘The Poem of Ecstasy’. 2. For many years classical musicians debated whether the note ‘A’ should be tuned to 435 or 440 cycles per second. 440 won and is an almost universal standard today. It is interesting that Scriabin chose neither. Perhaps it somehow affected his color perception?]

Source: The Lives of the Great Composers, by Harold C. Schonberg. 1970. George J. McLeod Limited. ISBN 0 393 02146 7

From Thomas Weynants

The Fantasmagoria, or, Virtual Reality Techniques During the French Revolution and the Early 19
^th
Century: Some Examples as Seen in Contemporary Experiments. by Thomas Weynants

The fantascope lantern and accessories used for the techniques described here were discovered seven years ago in a French castle called Chateau de Moisse. The site is located in the north part of the department La Creuse, 340km south of Paris.

Although an enormous family archive was discovered by the present owner, sadly, no information concerning the fantascope & accessories has been traced. This makes the date of purchase and origin of the apparatus difficult to determine. Possible manufacturers include Lerebours, Dubosq, Molteni and Chevalier. Even though this optical treasure looks more or less complete, I’m convinced that a lot of interesting accessories to the fantasmagoria (or phantasmagoria) have been irredeemably lost.

Fortunately, the Fantascope was found with three different lenses, each mounted on a wooden board, and named here after their respective purposes: Fantasmagoria lens, Megascope lens, and Dissolving view lens. The latter lens set (obviously double) will not be explained here since this article is limited to fantasmagorie effects.

However, it is appropriate to note that the presence of a cat’s eye on each dissolving lens (the only known example?) needs further research in order to reveal possible fantasmagoric use. Twenty-three wonderful hand- painted slides survived. Among them, ten depict beautiful fantasmagoria subjects such as a Skull, a Skeleton, a Devil, and the Bleeding Nun.

These are typical gothic horror subjects of the time. The theme of the nun, for example, was inspired by a character from one of the most famous novels in this genre, The Monk by Lewis Matthew (1796). Furthermore, great historic figures of the time were transformed into fantasmagoria subjects via these handpainted slides, for example two portraits of Bonaparte.

Such historically important figures illustrate another theme in the fantasmagoria. Other examples are portraits of Marat, Robbespierre, Louis XVI, Danton, etc., which were projected onto smoke curtains with the help of a hidden lantern. The technique of smoke projection is not dealt with here but will be the subject of future experiments.

A most intriguing and less expected projection accessory, is an animated marionette representing a skeleton opening his tomb.

The ultimate effect is a perfect animated projected image with movement, colour, and changing focal depth, in other words, cinema! For megascope demonstrations, the object, a skeleton, is hung upside down inside the lantern house, and strongly illuminated from both sides. To obtain the best result, the background behind the skeleton is painted matte black to ensure there are no reflections, and hence no image on the screen without the presence of the marionette. The elements for manipulation are also darkened using the same paint. All objects and decors appear in total darkness, and the virtual image and screen become one.

Extra weak illuminants can play a role in the decor to obtain spectacular light-effects. A small light projected directly through the lens and out of focus will give the desired effect. This combination of indirect (reflected object) and direct (weak illuminant) projection enables us to create a real gothic horror scene. Thanks to these experiments, I realized that the use of a decor [such as a graveyard scene in which a skeleton (marionette) is digging with a scythe] in the megascope is an obvious improvement to the effect.

All of the described techniques are fascinating early (18 & 19
^th
.Century) examples of an audio-visual performance in which all our senses are manipulated in order to create a personel and unexpected ghostly encounter, far removed from the events of daily life.

To enhance this experience, many sound effects where also created during these shows: thunder, heavy rain, stormy weather, the weird sound of a glass organ, funeral bells, and so on. Even different odours where produced to give the scene an unpleasant life-like, or even death-like, atmosphere. Understandably, I would never call these effects simply forerunners of today’s virtual reality techniques, because they where already full-grown!

For their time and context, the impact of these effects was far more radical (their very purpose was to create fear and panic) than that engendered by today’s media. It was not uncommon for people to start screaming, lose consciousness and flee in panic from the scene! Unfortunately, due to the unfamiliarity of these effects today, knowledge of their potential is limited to a very few. [2015 NOTE: I’ve edited the original very long and detailed description of various Magic Lantern apparatus; the full description is on the deadmedia.org site]

Source: Servants of Light article by Thomas Weynants [Bruce Sterling remarks: Mr.Weynant, a continental member of the far-famed Magic Lantern Society, is rightly proud of his antique fantasmagorie discovery, and has seen fit to share his expertise with the Dead Media list.]

From Bruce Sterling

[Bruce Sterling remarks: It would appear that Rene Prudent Dagron, the central figure in French communications during the Seige of Paris in the Franco-Prussian War, has not been entirely forgotten by his grateful nation. The Siege of Paris, with its bizarre deployment of pigeons, dogs, floating copper balls, hot-air balloons, microfilm, postcards, money orders, and telegraphy, is the most dramatic and unlikely Dead Media tale of all time. ] “Rene Dagron est ne en 1819 a Beauvoir, devenu Aillieres- Beauvoir depuis. Il part s’installer a Paris et en profite pour etudier la physique et la chimie. Il invente un microscope et travaille sur la mise au point de photos microscopiques.

“Il presente ses inventions a l’exposition de 1867, en particulier une photo microscopique d’un millimetre de cute sur laquelle est ‘gravee’ le portrait des 450 deputes de l’epoque. Son procede est d’abord utilise pour la decoration de bijoux.

“Lors du siege de Paris pendant la guerre de 1870, la capitale est coupee du reste de la France et en particulier de Tours ou se retranche le gouvernement provisoire.

“Des le 18 septembre 1870, la capitale est encerclee par les Prussiens. Pour communiquer, Nadar qui constitue dans l’urgence une compagnie de ballons.

“Il envoie, des le 23, un premier ballon qui quitte Montmartre en transportant 125 kg de depeches. Pendant les cinq mois du siege, 64 ballons quitterent Paris. Il etait possible de faire sortir des ballons de Paris, mais au gre du vent, les faire revenir dans la ville etait impossible. Nadar repensa a Rene Dagron qu’il avait vu a l’exposition de 1867. Aussitut, Dagron fut emmene hors de Paris par ballon pour perfectionner son procede photographique. Sur une pellicule de collodion de quinze centimetres carres, ultra legere, il reussit a faire tenir 3 000 depeches. Les pellicules ainsi constituees etaient ensuite acheminees vers Paris par pigeons voyageurs.

“A l’arrivee, les volatiles etaient liberes de leur precieux fardeau et les pellicules projetees sur un agrandisseur, recopiees et distribuees. Sur 355 pigeons partis de Paris en ballon, seulement 57 rentrerent a leur colombier. Mais il transporterent au total un million et demi de depeches, le record etant detenu par un pigeon qui transporta 18 pellicules soit 54 000 depeches. La carriere des micro-films venait de commencer.”

[And now, an unintentionally comic machine translation, courtesy of AltaVista’s “Babelfish” service.] In English: “Rene Dagron was born in 1819 in Beauvoir, become Aillieres-Beauvoir since. He leaves to settle in Paris and benefits from it to study physics and chemistry. He invents a microscope and works on the development of microscopic photographs.

“He presents his inventions to the exposure of 1867, in particular a microscopic photograph of a millimetre on side on which is ‘engraved’ the portraits of the 450 deputies of the time. His process is initially used for the decoration of jewels.

“At the time of the head office of Paris during the war of 1870, the capital is cut remainder of France and in particular of Turns where is cut off the provisional government. As of September 18, 1870, the capital is encircled by the Prussians. To communicate, Nadar constitutes in the urgency a company of balloons.

“He sends, as of the 23, a first balloon which leaves Montmartre while transporting 125 kg of despatches. During the five months of the seige, 64 balloons left Paris. It was possible to make come out of the balloons of Paris, but with the liking of the wind, to make them return in the city was impossible.

“Nadar reconsidered to Rene Dagron whom he had seen with the exposure of 1867. At once, Dagron was taken along out of Paris by balloon to improve his photographic process. On a collodion film of fifteen centimetres square, ultra light, he succeeds in making hold 3 000 despatches.

“The films thus made up were then forwarded to Paris by carrier pigeons. On arrival, the birds were released from their invaluable burden and the films projected on an enlarger, recopied and distributed. On 355 pigeons left Paris in balloon, only 57 re-entered to their dovecote. But it transported on the whole a million and half of despatches, the record being held by a pigeon which transported 18 films is 54 000 despatches. The career of the microfilms had just begun.”

[2015 note: Shall we see how machine translation has improved in 15 years?] “Rene Dagron is in 1819 Beauvoir, Beauvoir became Aillieres- since. He went to live in Paris and used it to study the physics and chemistry . He invented a microscope and is working on the development of microscopic photos.

“ he presents his inventions was the 1867 exhibition , particularly a microscopic picture of a cute millimeter on which is ‘ engraved ‘ portrait of the 450 deputies of the time. METHOD first is used for jewelry decoration .