Communication and analogies between music and image: Dragutin Gostuški's theory of screen

Abstract

In his doctoral dissertation (Vreme umetnosti, 1968), Dragutin Gostuški (1923–1998) presents the opinion that all the products of human action, together with all natural phenomena, can be brought down to the same analytical level and, consequently, to the same laws. In this paper, we will look into the mechanisms of Gostuški’s theory and holography as an interpretative technique that he proposes, and, in this light, the possibility and the nature of transpositions between music and the visual arts.