"Neuchatel" is an artwork that affects the sensations, the feelings and the sense that the sound produces when interpreting the different chromatic tones as well as the inverse. In this sense the composer came to change the "tempo" of the entire composition and together we edited the video (fragments of whole chromatic series) making several versions so that they had a more harmonious correlation with their musical equivalents. In the creation of this intradiscally work the plastic and musical elements make up a unitary whole. The "color-music" analogies are well known and we are not the first to explore them; so, for example, it is well known that when we hear a melody in a lower tone, we are invaded by a feeling of sadness and melancholy, this feeling we also have when contemplating a range of cold colors... In relating these two artistic disciplines, I have read many other scientific theories, and the truth is that I do not find an absolutely coherent relationship; I suppose it will be because they have been made by scientists, who are based on complicated mathematical relations, but who do not know the music or the colors, nor the sensations and subjective feelings that they produce. It should be recalled that "the most famous composers in the history of music who have declared themselves synesthetic are: Alexander Scriabin (1872-1915) and Olivier Messiaen (1908-1992). Scriabin, in 1910, premiered his work Prometheus, which includes a play of lights in the room while the work is performed, managed by the instrument Clavier à Lumiere’s, which is an organ of lights that would project specific colors in the room, accompanying the musical interpretation, designed according to the composer's own synesthetic experiences Pérez Navarro (2004). Synesthesia is the involuntary ability of certain people to perceive sensations in a clustered form through two or more senses. The two most frequent synesthesia’s in relation to music: sight and sound (painting and music) and touch and hearing (texture and music). From this perspective, "Neuchatel" aims to provoke an "induced" synesthesia in the viewer, in such a way that intuitively and subconsciously perceives as a whole the analogies between color and music. The tactile synesthesia is suggested by the visual textures, sometimes abrupt, introduced in the work, of rough and sometimes rough appearance, in contrast to the predominant laxity of the dominant planes; not forgetting that it is the water and the sky refined in it, which could also be considered as a metaphor of the totality of the Universe, of space and matter, of the Ying and Yang. Even starting from a photograph of nature (the lake of Neuchatel reflecting a cloudy autumn sky) digital postproduction forgets its origin to immerse us in the most complete abstraction. In fact, the video begins, going from the plane to the mere line, as a basic and primary element of the drawing and the plastic language, in an absolutely abstract way; without the slightest reference to a concrete reality. The rough textures (pixelated areas) reflect the third element of the plastic language: the point. From this perspective "Neuchatel" could be qualified as a formal game between music and the three elements of the plastic language: the point, the line and the plane. However, it does not remain there, but in an intimate and complicated game between two disciplines and two artists, in the creation of a work, which does not pretend to be a mere formal game, but to influence the sensitivity of the viewer through the emotional and sensitive qualities that the sound, the image and the color have in the perceptive psychology of the same inducing him in a state that submerges him in the totality of the aesthetic experience. This objective is reached with greater intensity when projecting the video in large format and with live music. Experience and emotions change; the experience is never the same in each performance.