Study Of Synesthesia Research Articles

An Introduction of Synesthesia’s Psychological Symptoms and its Correlation with Major Neuropsychiatric Disorders

Synesthesia is defined as a subjective phenomenon that a stimulus could spontaneously evoke a concurrent but unrelated sensation. Previous studies have predominantly focused on understanding the phenomenon in isolation, examining various aspects such as different types of synesthesia, their causes, etiology, and heredity. By conducting studies on synesthesia alongside existing investigations, researchers can gain valuable knowledge about how the non-synesthetic mind operates, shedding light on aspects such as awareness and neurological disorders. This literature review aims to examine the psychological symptoms and psychiatric characteristics of synesthesia, focusing on three common types that pertain to color, numerical cognition, and synesthetic-like experiences. Additionally, the review will explore the intersection between synesthesia and major types of neuropsychiatric disorders, highlighting that the occurrence of mental illnesses or neurological impairments among synesthetes aligns with the prevalence in the general population. Thus, synesthesia could serve as an additional tool for studying the human brain and cognition. There are still a lot of limitations in the present research that we need more evidence and data to further support it. The study of synesthesia might provide a promising platform for testing various concepts and theories across diverse realms of cognitive science.

ASPECTS OF MUSICAL ART INFLUENCE ON THE CREATIVITY OF ARTISTS IN THE LATE 19TH–20TH CENTURIES

The article is dedicated to studying the influence of musical art on the creative process and aesthetic perceptions of artists in painting from the late 19th to the 20th centuries, with a focus on synesthetic artists. The research aims to reveal the interconnection between musical impressions and visual art. Various aspects of using music as a source of inspiration and the influence of musical composition elements on the creation of images in the works of synesthetic artists are analyzed within the study. This research explores how synesthetic artists utilize music as a source of inspiration and how elements of musical composition – rhythm, harmony, and structure – shape the imagery within their art. By investigating these aspects, the study sheds light on the multifaceted ways music informs the creative process in art, ultimately revealing the singular perspective that synesthesia brings to the world of artistic creation. These results indicate the necessity to consider not only music but also visual arts in light of their interaction concerning the influence of synesthetic sensations on artists’ creative methods. For synesthetic artists, music is not simply a source of inspiration; it is an integral part of the creative process. They use music to evoke emotions, create atmosphere, and develop ideas. The specific ways in which they do this vary depending on the individual artist. Some synesthetic artists use music to create a visual representation of the sounds they hear. Others use music to generate a mood or feeling that they then translate into images. Still others use music to structure their art, using the rhythm and tempo of the music to dictate the pacing of their work. The study of synesthesia in art is significant for several reasons. First, it provides a unique insight into the creative process of artists. By undershow synesthetic artists perceive and use music, we can gain a better understanding of how art is created. Second, the study of synesthesia can help us to appreciate the richness and complexity of art. By understanding how music can be used to create visual imagery, we can develop a deeper appreciation for the art we experience. Finally, the study of synesthesia can help us to understand the relationship between the senses and how they can be used to create art. By understanding how synesthesia can merge the senses, we can gain a new perspective on the world around us.

Grapheme-Color Synesthesia in an Abugida: a Bengali Case Study.

Grapheme-color synesthetes experience graphemes (e.g., letters of the alphabet) as having a specific, consistent color. Most studies of grapheme-color synesthesia have only examined synesthetes in English, leaving underexplored the question of how synesthetic phenomenology might differ in languages that do not use alphabets. In particular, grapheme-color synesthesia in an abugida (a segmental writing system in which vowels are added to consonant graphemes using 'accent'-like diacritical marks) has never been studied. Here, we present a case study of a Bengali synesthete, MJ, the first report of a grapheme-color synesthete in an abugida. First, we show that for MJ, diacritics influence the overall color of the consonant grapheme they modify, 'pulling' it toward the color she experiences for the vowel. Second, we describe and analyze the complex synesthetic experiences reported by MJ for conjunct graphemes, a unique orthographic feature of Brahmi-derived scripts (such as Bengali) in which multiple graphemes are visually combined into a single 'merged' grapheme. Finally, we show that in addition to these language-specific features, MJ's synesthetic associations are influenced by some of the same linguistic properties (such as orthography and phonology) that influence synesthetic associations in other languages. We conclude that the idiosyncratic features of MJ's synesthesia reflect unique properties of the Bengali writing system, that more studies of synesthesia in non-alphabetic scripts are needed, and that synesthetic phenomenology can offer insights into how linguistic properties shape grapheme representation in the brain.

Relevance of the use of synesthetic methodologies in the field of aesthetic education

The article discusses the prospects for the use of synesthetic methodologies in the field of aesthetic education. It is indicated that the use of pedagogical techniques based on synesthesia promotes self-actualization of the personality, the development of creative imagination, memory, imaginative and associative thinking and the expansion of the scope of creative activity. The experience of conducting international scientific conferences on the study of synesthesia and the use of synesthetic methodologies in pedagogical and psychological practice are summarized.

Bidirectionality in Synesthesia and Metaphor

Most studies of synesthesia have documented its unidirectional nature. For example, in grapheme-color synesthesia, a digit (e.g., 5) triggers a color (e.g., yellow) but not vice versa. This has led many to believe synesthesia is unidirectional. However, research has provided evidence that synesthesia might be bidirectional. Similarly, discussions of metaphors have suggested that metaphors are unidirectional and, in particular, move from the concrete to the abstract dimensions. For example, the smell of fish might induce suspicion (“Something smells fishy”). However, research has suggested that metaphors might work in the other direction also, namely, from abstract to concrete. For example, induction of suspicion leads to improved detection of the smell of fish than of other odors. Are these similarities between synesthesia and metaphors just superficial or do they tell us something about our cognitive mechanisms? The present paper reviews research on directionality in synesthesia and metaphors and attempts to propose some future research directions in order to answer this question.

A Study of Synesthesia Used in Public Advertising

A Study of Synesthesia Used in Public Advertising

Mental Disorder or Creative Gift?

In cases where one sense-modality is stimulated by another, we speak of synesthesia, i.e., of a subjective experience of multiple distinct sensations as being quite literally conjoined. The term “synesthesia” is derived indirectly from the Greek words “syn,” meaning “together,” and “aisthesis,” meaning “sensation.” This article focuses on the question of whether synesthesia is in fact a mental disorder or a creative gift. Both the commonsense views that have emerged in recent times, and neurological research, demonstrate that our knowledge of this relatively uncommon phenomenon is slowly but constantly expanding. Proper experimental research conducted with the right sorts of synesthete, and philosophically and scientifically nuanced conceptual studies of synesthesia, can all be helpful when seeking answers to the question posed above, while also confirming general claims about the extent to which our perceptions are really subjective. Most synesthetes see themselves as gifted, and claim that this “conjoining of the senses” enriches the quality of their lives.

Study of synesthesia based on colored hearing comparison of Korean traditional instrument, Taepyeongso, Piri and western instrument Oboe

Study of synesthesia based on colored hearing comparison of Korean traditional instrument, Taepyeongso, Piri and western instrument Oboe

Synesthesia: A new approach to understanding the development of perception.

In this article, the authors introduce a new theoretical framework for understanding intersensory development. Their approach is based upon insights gained from adults who experience synesthesia, in whom sensory stimuli induce extra cross-modal or intramodal percepts. Synesthesia appears to represent one way that typical developmental mechanisms can play out by magnifying connections present in early life that are pruned and/or inhibited during development but persist in muted form in all adults. As such, the study of synesthesia provides valuable insights into the nature of intersensory development. The authors review evidence on the perceptual reality and neural basis of synesthesia, then summarize developmental models and evidence that its underlying mechanisms are universal in adults. They illustrate how evidence for consistent sensory associations in adults leads to predictions about toddlers' perception and present 3 bodies of work that have confirmed those hypotheses. They end by describing novel hypotheses about intersensory development that arise from this framework. Such intersensory associations appear to reflect intrinsic sensory cortical organization that influences the development of perception and of language and that may constrain the learning of environmentally based associations.

On the Study of Synesthesia and Synesthetic Metaphor

This paper aims to introduce a brief review on the study of synesthesia from two different perspectives. By presenting these different findings from various approaches, more information about the nature of synesthesia can be learnt.

Synesthesia: A new approach to understanding the development of perception.

In this article, the authors introduce a new theoretical framework for understanding intersensory development. Their approach is based upon insights gained from adults who experience synesthesia, in whom sensory stimuli induce extra cross-modal or intramodal percepts. Synesthesia appears to represent one way that typical developmental mechanisms can play out by magnifying connections present in early life that are pruned and/or inhibited during development but persist in muted form in all adults. As such, the study of synesthesia provides valuable insights into the nature of intersensory development. The authors review evidence on the perceptual reality and neural basis of synesthesia, then summarize developmental models and evidence that its underlying mechanisms are universal in adults. They illustrate how evidence for consistent sensory associations in adults leads to predictions about toddlers' perception and present 3 bodies of work that have confirmed those hypotheses. They end by describing novel hypotheses about intersensory development that arise from this framework. Such intersensory associations appear to reflect intrinsic sensory cortical organization that influences the development of perception and of language and that may constrain the learning of environmentally based associations.

A Taxonomy of Abstract Form Using Studies of Synesthesia and Hallucinations

The author proposes a taxonomy of abstract form anchored in an examination of the history and theory of synesthesia and abstract art. The foundations of this taxonomy lie in empirical psychological studies of “form-constants” found in cross-modal synesthetic visions and hallucinatory states, specifically the work of Heinrich Klüver in his examinations of mescaline and the mechanisms producing visual hallucinations. While the proposed taxonomy is limited only to synesthesia-inspired abstraction, it has suggestive possibilities when considered in relation to other forms of non-synesthetic abstraction such as Islamic Art, the geometric forms found on classical Greek vases, and other kinds of decorative abstract patterns.

Are “Cognitive Fossils” Significant for Art? Studies of Synesthesia in Normal and Abnormal Cases

Are “Cognitive Fossils” Significant for Art? Studies of Synesthesia in Normal and Abnormal Cases

Visions Shared: A Firsthand Look into Synesthesia and Art

The author discusses her experiences as an artist and synesthete. She describes her synesthetic perceptions—her experiences of touch, sound and other sensory input in the form of often strikingly colorful visions. She explains the development of her awareness of her synesthesia and of methods and preferred techniques for communicating these experiences through painting and sculpture, thus allowing her to express what would otherwise not be fully expressible. The author finds that art inspired by synesthesia may convey information of significance to everyone, observing that more general aspects of perception may be illuminated by the study of synesthesia.

The basic emotional impact of environments.

Available literature provides ample evidence that there are basic responses which are elicited by stimuli but which are independent of sense-modality distinctions. Everyday observations of intermodality associations, studies of synesthesia and of physiological reactions to different stimuli, and semantic differential studies all showed evidence of such primary responses. Semantic differential studies, in particular, have shown that human judgments of diverse samples of stimuli can be characterized in terms of three dimensions: evaluation, activity, and potency. We have termed the corresponding emotional responses pleasure, arousal, and dominance. Simple self-report measures of these emotional reactions were developed by using questionnaire studies in which Ss described a variety of situations using semantic-differential type scales.