Chromoacoustics: The Science of Sound and Color John S. Sultzbaugh, Ph.D. The purpose of this presentation is to share findings from a decades-long search to develop the optimal method, with some basis in natural law, for translating music.and perhaps all auditory manifestations.into chromatic visual displays, a process this paper names Chromoacoustics, (“CAS”) or “color and sound.” The outcome could provide insights into the operation of well- concealed natural laws. It is clear that this research could furnish beneficial results through instructional and therapeutic applications, among which are means to provide enhanced tools for teaching the hearing-impaired. Introduction: The purpose of this presentation is to share findings from a decades-long search to develop the optimal method, with some basis in natural law, for translating music.and perhaps all auditory manifestations.into chromatic visual displays, a process this paper names Chromoacoustics, (“CAS”) or “color and sound.” This project was greatly inspired by the Luxatone, a color-organ invented by H. Spencer Lewis and first demonstrated in New York City in February 1916, and by his descriptive article bearing the same name (see Appendix E).1 Another impetus for the project issues from an instinctual empathy for a favorite composer, Ludwig van Beethoven, who probably never heard many of his own most splendid works. Just as CAS was inspired by the Luxatone, H. Spencer Lewis was inspired by the thoughts of Aristotle (384-322 BCE),2 which are preserved in the Greek philosopher’s treatise, De Sensu, or The Senses and the Sensible, Aristotle notes that: “… we may regard these colors (viz. all those colors based on numerical ratios) as analogous to the sounds that enter into music, and suppose that those involving simple numerical ratios, like Chromoacoustics: The Science of Sound and Color John S. Sultzbaugh, Ph.D. The purpose of this presentation is to share findings from a decades-long search to develop the optimal method, with some basis in natural law, for translating music.and perhaps all auditory manifestations.into chromatic visual displays, a process this paper names Chromoacoustics, (“CAS”) or “color and sound.” The outcome could provide insights into the operation of well- concealed natural laws. It is clear that this research could furnish beneficial results through instructional and therapeutic applications, among which are means to provide enhanced tools for teaching the hearing-impaired. Introduction: The purpose of this presentation is to share findings from a decades-long search to develop the optimal method, with some basis in natural law, for translating music.and perhaps all auditory manifestations.into chromatic visual displays, a process this paper names Chromoacoustics, (“CAS”) or “color and sound.” This project was greatly inspired by the Luxatone, a color-organ invented by H. Spencer Lewis and first demonstrated in New York City in February 1916, and by his descriptive article bearing the same name (see Appendix E).1 Another impetus for the project issues from an instinctual empathy for a favorite composer, Ludwig van Beethoven, who probably never heard many of his own most splendid works. Just as CAS was inspired by the Luxatone, H. Spencer Lewis was inspired by the thoughts of Aristotle (384-322 BCE),2 which are preserved in the Greek philosopher’s treatise, De Sensu, or The Senses and the Sensible, Aristotle notes that: “… we may regard these colors (viz. all those colors based on numerical ratios) as analogous to the sounds that enter into music, and suppose that those involving simple numerical ratios, like