Macbeth: A Theorem of Sinesthetic Collapse – 26 Letters, 26 Colors, 26 Tones

This work proposes a formal theorem of sinesthetic collapse between literature, sound, colour, and bodily perception through Shakespeare’s Macbeth. The text of the play is decomposed syllable by syllable, and each letter is mapped to a specific Farrow & Ball colour, a note in an extended 22‑EDO scale plus four special tones, and one of four thematic clusters: ambition, ethical void, moral dualism, madness. The installation built on this theorem translates the text into a continuous flow of low‑frequency vibrations under the feet, coloured light on the walls, and jets of smoke from four geysers, each associated with one of the thematic pillars. Visitors do not read Macbeth in the traditional sense; they undergo its molecular disintegration as a bodily, sonic, and chromatic experience. The paper presents the mapping ΦΦ as a formal function from the alphabet to a triple of colour, tone, and theme, and outlines how this mapping induces a perceptual trajectory in the space of haptic, visual, and auditory sensations.