bloodyrosemccoy (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
bloodyrosemccoy) wrote2012-04-17 11:41 pm
bloodyrosemccoy) wrote2012-04-17 11:41 pm
Entry tags:
I'd Have Called Him "Diz"
Watchin' Fantasia again. Ah, this brings back memories. For example, the memory that while I was totally cool with the Satanic orgy from Night on Bald Mountain, with the giant demon-mountain casually tormenting his misshapen subjects, I was absolutely terrorized by one shot of the unstoppable broom army from The Sorcerer's Apprentice.
I also remember being absolutely bored senseless by Deems Taylor's intros to each piece, so much so that I always fast-forwarded them.* Which means that I was unaware just how darn uncomfortable Mr. Radio there was in front of a camera. Poor dope has no idea what to do when we can see him.
Anyway, yeah, there was definitely a synesthete working on the Toccata and Fugue in D short. I know there's been some question about whether it was deliberate or not, but good GRIEF, it looks an awful lot like what would happen if you tried to animate the Synesthesia Dimension. I have this image of Disney and Co. struggling to describe what they wanted in the abstract piece, and some synesthetic animator going, "So, just draw what it looks like, then. Gotcha, Diz. I'm on it." Not quite the same level of research put into the dinosaurs in the Rite of Spring,** but as scientifically fascinating in its own way.
*Which took dedication on our old-ass Betamax. We had no remote for it, and you had to actually hold down the fast-forward button. And the button didn't make it go forward any faster, but did distort the screen with interesting lines of static. Those were tough times.
**Yes, they look rather derpy and lumpy now, but hey, this was the 30s and 40s. It was totally SCIENCE! at the time.
I also remember being absolutely bored senseless by Deems Taylor's intros to each piece, so much so that I always fast-forwarded them.* Which means that I was unaware just how darn uncomfortable Mr. Radio there was in front of a camera. Poor dope has no idea what to do when we can see him.
Anyway, yeah, there was definitely a synesthete working on the Toccata and Fugue in D short. I know there's been some question about whether it was deliberate or not, but good GRIEF, it looks an awful lot like what would happen if you tried to animate the Synesthesia Dimension. I have this image of Disney and Co. struggling to describe what they wanted in the abstract piece, and some synesthetic animator going, "So, just draw what it looks like, then. Gotcha, Diz. I'm on it." Not quite the same level of research put into the dinosaurs in the Rite of Spring,** but as scientifically fascinating in its own way.
*Which took dedication on our old-ass Betamax. We had no remote for it, and you had to actually hold down the fast-forward button. And the button didn't make it go forward any faster, but did distort the screen with interesting lines of static. Those were tough times.
**Yes, they look rather derpy and lumpy now, but hey, this was the 30s and 40s. It was totally SCIENCE! at the time.
no subject
I'm not synesthetic, but my go-to descriptions of things kind of are (Not sure if I explained that right) -- Toccata animations always made sense to me. :) I loved the Nutrcracker suite, and the Pastoral Symphony because Magical Horse Creatures (even though mom complained that the centaurs had bell-bottoms and no nipples. The no nipples thing bothered her a lot). The bits with Mickey were my least liked.
no subject
Apparently getting away with even that little bit of toplessness was a reach. Hence the flower garlands and whatnot later.
I think my Default Image Of Fairies is that of the Dewdrop Fairies.