Nanopublication — Chromesthetic Mapping — C to Red Spectrum

Context

This chromesthetic association between C and the red spectrum emerges from rigorous self-testing protocols adapted from established synesthesia research methodologies. Through repeated testing across multiple batteries, I have documented consistent C-to-red mappings with statistical validation including RGB values, Z-scores, and consistency analysis. The association is not arbitrary aesthetic preference but empirically verified perceptual correspondence.

The mapping follows the circle of fifths as an organizing principle for pitch-to-hue relationships, where each pitch class occupies a distinct position in chromatic space. C, positioned at the origin of conventional Western music theory notation, corresponds to red—the origin point of the visible spectrum in many perceptual models. This convergence of musical and chromatic "starting points" reinforces the structural logic of the mapping system.

In "C Octaves [1] - Reflexions 23" (AQC0698), this foundational mapping manifests through exclusive use of the red chromatic family: vermilion, coral, salmon, terracotta, burnt sienna, and deep brown-reds. The grey-blue accents provide neutral compositional framing without introducing competing pitch-class associations.