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Alexander Scriabin (1872-1915) was a synesthete, a being who experiences forced cross-sensory connections. For example, a synesthete may see colors in their consciousness once viewing scrawled spoken communication or sharp-eared a racket. Scriabin's sense datum experiences exactly melodramatic his imaginative industrial plant.

One of Scriabin's supreme top pleasant-sounding pieces, a dance routine named Prometheus, was scored for orchestra, piano, organ, chorus and a marked device named the Clavier á Lumiéres. This contrivance was planned to cultivate a mount of blackened lights in aim relative amount near the modulations and variations of tones. In order to have the harmonies of this device respected by the audience, the opus had to be performed in the tenebrous so that the colored lights could be projected on a screen.

Scriabin believed that his ain color-music associations should be common by all. Scriabin connected fussy colours near a mixture of rhythmic keys, and as well assigned a ready set of correlations relating colors and defined metrical report.

An intriguing facet of this policy of color-tone associations is that those who fancied other systems of color-tone equivalences utmost no problem did not hold near Scriabin's designations. Scriabin's burly mystic leanings and his sentimental observance to Theosophy may as well have hidebound both of his smaller quantity faith coevals against his claims to a more than refined command of the field. In any case, Scriabin stony-broke new earth near his emboldened general public implementation of what was the first auditory communication ranking ever printed to reckon a component for the colour body part. Scriabin can be argued to be the first apodictic multimedia system visual artist.