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Books on the topic 'Synaesthesia'

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Author: Grafiati
Published: 4 June 2021
Last updated: 10 March 2023

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1

Lee, Madeleine. Synaesthesia. Singapore: Firstfruits, 2008.

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2

Simon, Baron-Cohen, and Harrison John E, eds. Synaesthesia: Classic and contemporary readings. Cambridge, Mass: Blackwell, 1997.

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3

Fingerhut, Jörg. Habitus in habitat III: Synaesthesia and kinaesthetics. Bern [Switzerland]: Peter Lang, 2011.

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4

1909-1992, Bacon Francis, ed. After Francis Bacon: Synaesthesia and sex in paint. Farnham, Surrey, England, UK: Ashgate, 2012.

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5

Yeung, Vernie. Electronic synaesthesia: Including cd disc : M. A. Communication Design Thesis 2003. London: Central Saint Martins College of Art & Design, 2003.

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6

Bright colors falsely seen: Synaesthesia and the search for transcendental knowledge. New Haven: Yale University Press, 1998.

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7

Day, Sean Andrew. Synaesthetic metaphors in english. Ann Arobor: UMI Dissertation Services, 1995.

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8

Scent upon a Southern Breeze: The synaesthetic arts of the Deccan. Mumbai, India: Marg Foundation, 2018.

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9

and, Bruno. Synaesthesia. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198725022.003.0006.

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Synaesthesia is a curious anomaly of multisensory perception. When presented with stimulation in one sensory channel, in addition to the percept usually associated with that channel (inducer) a true synaesthetic experiences a second percept in another perceptual modality (concurrent). Although synaesthesia is not pathological, true synaesthetes are relatively rare and their synaesthetic associations tend to be quite idiosyncratic. For this reason, studying synaesthesia is difficult, but exciting new experimental results are beginning to clarify what makes the brain of synaesthetes special and the mechanisms that may produce the condition. Even more importantly, the related phenomenon known as ‘natural’ crossmodal associations is instead experienced by everyone, providing another useful domain for studying multisensory interactions with important implications for understanding our preferences for products in terms of spontaneously evoked associations, as well as for choosing appropriate names, labels, and packaging in marketing applications.
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10

Banissy, Michael, Roi Cohen Kadosh, and Clare Jonas, eds. Synaesthesia. Frontiers Media SA, 2015. http://dx.doi.org/10.3389/978-2-88919-559-6.

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11

Synaesthesia. Oxford University Press, 2019.

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12

Sagiv, Noam, Monika Sobczak-Edmans, and Adrian L. Williams. Personification, Synaesthesia, and Social Cognition. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199688289.003.0015.

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Defining synaesthesia has proven to be a challenging task as the number of synaesthesia variants and associated phenomena reported by synaesthetes has increased over the past decade or so. This chapter discusses the inclusion of non-sensory concurrents in the category of synaesthesia. For example, many grapheme-colour synaesthetes also attribute gender and personality to letters and numbers consistently and involuntarily. Here we assess the question of including synaesthetic personification as a type of synaesthesia. We also discuss the relationship between synaesthetic personification and other instances of personification and mentalizing. We hope to convince readers that whether or not they embrace atypical forms of personification as a synaesthesia variant, studying the phenomenon is a worthwhile effort that could yield novel insights into human cognition and brain function.
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13

Rothen, Nicolas, Julia Simner, and Beat Meier, eds. Developing Synaesthesia. Frontiers Media SA, 2015. http://dx.doi.org/10.3389/978-2-88919-579-4.

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14

Terhune, Devin B., David P. Luke, and Roi Cohen Kadosh. The Induction of Synaesthesia in Non-Synaesthetes. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199688289.003.0012.

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In this chapter we review research examining the induction of synaesthesia with training, posthypnotic suggestion, and pharmacological agents in non-synaesthetes. Each of these methods has been shown to produce different aspects of synaesthesia, but none have produced experiences that have been corroborated using neuroimaging assays. Nevertheless, the close parallels between induced and congenital synaesthesias have the potential to illuminate different facets of this condition. We argue that training may be a valuable model for studying the learning mechanisms underlying congenital synaesthesia, posthypnotic suggestion may have greater utility in the experimental manipulation of this condition, and the administration of pharmacological agents may serve as a useful tool for studying the development of synaesthesia or for large-scale studies of induced synaesthesia. Induced synaesthesias also raise important questions regarding espoused criteria for demarcating synaesthesia from other phenomena.
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15

Sollberger, Michael. Can Synaesthesia Present the World as it Really Is? Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199688289.003.0010.

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Can some synaesthetic experiences be treated as veridical perceptual experiences, i.e. as conscious mental states in which worldly objects and their features perceptually appear as they really are? Most empirical scientists and philosophers working on synaesthesia answer this question in the negative. Contrary to this prevailing opinion, Mohan Matthen’s ‘When is Synaesthesia Perception?’ (Chapter 8, this volume) argues that such a dismissive approach to the epistemic properties of synaesthetic experiences is not mandatory. Matthen claims that there is conceptual room for a more tolerant approach according to which at least one variety of synaesthesia, which he calls ‘direct synaesthesia’, is epistemically on a par with everyday non-synaesthetic perception. The aim of this chapter is to evaluate the idea of ‘direct synaesthesia’ and to assess whether the accepted dogma that synaesthesia is always prone to error has to go.
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16

Vignemont, Frédérique de. Mirror-Touch Synaesthesia. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199688289.003.0014.

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Individuals with mirror-touch synaesthesia report consciously feeling tactile sensations on their own body when they see another person being touched. They have what may be called vicarious tactile sensations. Vicarious tactile sensations may almost seem unbelievable. How could one feel from the inside someone else’s sensations? First, I will focus on the intersubjective dimension of vicarious touch. In particular, I will examine whether it constitutes a kind of empathy. I will then argue that vicarious touch cannot be taken as evidence in favour of embodied social cognition. Second, I will focus on the intermodal dimension of vicarious touch. I will show how it differs from standard cases of idiosyncratic synaesthesia. I will then argue that it is a by-product of the multimodal nature of non-vicarious bodily experiences.
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17

Auvray, Malika, and Mirko Farina. Patrolling the Boundaries of Synaesthesia. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199688289.003.0013.

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Synaesthesia is a neurological condition in which people make unusual associations between various sensations. This chapter investigates conceptually whether alleged non-developmental (i.e. artificial) forms of synaesthesia could be counted as genuine synaesthetic experiences. It focuses in particular on post-hypnotic suggestions, drug habits, flavor perception, and use of sensory substitution devices. It discusses a number of criteria that have been taken as definitional of synaesthesia; namely, inducer-concurrent pairing, idiosyncrasy, consistency over time, and automaticity of the process, and subsequently investigates whether those alleged non-developmental cases could fulfill these criteria. Although the response provided here is negative, as each of the cases fail to fulfill one or several of the criteria, the comparisons between these cases and congenital synaesthesia prove useful to highlight key differences between different kinds of multisensory experiences.
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18

Rogowska, Aleksandra Maria. Synaesthesia and Individual Differences. Cambridge University Press, 2015.

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19

Matthen, Mohan. When is Synaesthesia Perception? Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199688289.003.0009.

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Under certain conditions, synaesthesia would properly be understood as perception, i.e. as experience that affords the subject an accurate imagistic representation of some occurrence in the world that the subject understands as such. Perception is a true imagistic representation of the world concurrently around the perceiver, which, moreover, gives the perceiver unmediated reason to believe in what is so represented. Projector synaesthetes have an enhanced experience of what is known as the inducer stimulus. This experience includes a concurrent experience over and above the normal experience. I define direct synaesthesia as enhanced experience that gives direct reason to believe in the existence of the inducer (not the concurrent). Such direct projector synaesthesia is worth investigating because it seems, in short, to be enhanced perception of the inducer.
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20

Rogowska, Aleksandra Maria. Synaesthesia and Individual Differences. Cambridge University Press, 2015.

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21

Synaesthesia and Individual Differences. University of Cambridge ESOL Examinations, 2017.

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22

Rogowska, Aleksandra Maria. Synaesthesia and Individual Differences. Cambridge University Press, 2015.

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23

Rogowska, Aleksandra Maria. Synaesthesia and Individual Differences. Cambridge University Press, 2015.

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24

Gordon, Paul. Synaesthetics: Art As Synaesthesia. Bloomsbury Publishing Plc, 2019.

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25

Synaesthesia: The Strangest Thing. Oxford University Press, USA, 2001.

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26

Gordon, Paul. Synaesthetics: Art As Synaesthesia. Bloomsbury Publishing Plc, 2021.

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27

Simner, Julia. Synaesthesia: A Very Short Introduction. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780198749219.001.0001.

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Synaesthesia is often described as a rare neurological condition where one sense appears to merge or cross with another. It is a multi-variant condition that can present itself in many different ways: some synaesthetes taste words, while others see colours when they hear sounds. Synaesthesia: A Very Short Introduction describes this extraordinary condition, explaining what synaesthesia is, how it manifests itself, what causes it, how it feels, how it links to creativity and the arts, and what it can tell us about every human’s perceptions of reality. Delving into the neuroscience behind synaesthesia, it also relates contemporary attempts at understanding both the genetic causes of synaesthesia, and how synesthetic sensations occur in the brain.
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28

Ward, Jamie. Music and shape in synaesthesia. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0021.

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People with synaesthesia have extra percept-like experiences that are automatically elicited by certain stimuli: for instance, some synaesthetes experience music visually as well as via hearing. Although this has historically been labelled as ‘coloured hearing’, there is far more to the experience than colour: the visions also tend to have shape, movement, texture and location. The chapter starts with a general overview of synaesthesia and then goes on to consider auditory–visual synaesthesia in particular, concentrating on what little is known about shape. Whereas most psychological research has focused on the shapes of individual notes (e.g. high-pitch notes being spiky), synaesthetes report that shape is important at multiple levels in music: from single notes, through to whole compositions and performances. The final part of the chapter contains first-person accounts of synaesthetes describing the shape of music.
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29

Butler, Shane, and Alex Purves, eds. Synaesthesia and the Ancient Senses. Routledge, 2014. http://dx.doi.org/10.4324/9781315729848.

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30

Purves, Alex, and Shane Butler. Synaesthesia and the Ancient Senses. Taylor & Francis Group, 2014.

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31

Purves, Alex, and Shane Butler. Synaesthesia and the Ancient Senses. Taylor & Francis Group, 2014.

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32

Synaesthesia And The Ancient Senses. Acumen Publishing Ltd, 2013.

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33

(Editor), John E. Harrison, and Simon Baron-Cohen (Editor), eds. Synaesthesia: Classic and Contemporary Readings. Blackwell Publishers, 1996.

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34

Wheeler, Raymond Holder. Synaesthesia in Judging and Choosing. Creative Media Partners, LLC, 2021.

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35

(Editor), Simon Baron-Cohen, and John E. Harrison (Editor), eds. Synaesthesia: Classic and Contemporary Readings. Blackwell Publishers, 1996.

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36

Purves, Alex, and Shane Butler. Synaesthesia and the Ancient Senses. Taylor & Francis Group, 2014.

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37

Purves, Alex, and Shane Butler. Synaesthesia and the Ancient Senses. Taylor & Francis Group, 2014.

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38

Synaesthesia And The Ancient Senses. Acumen Publishing Ltd, 2013.

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39

Felle, Courtney, Gaia Rajan, and Topaz Winters. Half Mystic Journal Issue IX: Synaesthesia. Indy Pub, 2021.

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40

Abath, André J. Merleau-Ponty and the Problem of Synaesthesia. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199688289.003.0008.

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This chapter discusses Merleau-Ponty’s account of synaesthesia as presented in his Phenomenology of Perception. The chapter argues, first, that this account is unsuccessful in dealing with what will be called synaesthesia proper. Second, the chapter argues that this account also falls short of illuminating two other forms of sensory union, namely crossmodal correspondences and crossmodal mental imagery. Finally, the chapter argues that, despite these shortcomings, Merleau-Ponty’s account is still relevant today, for in his discussion of the phenomenon of synaesthesia he happens to identify a form of sensory union—here called sensorimotor crossmodality—that has been overlooked by contemporary accounts.
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41

Deroy, Ophelia. Sensory Blending: On Synaesthesia and Related Phenomena. Oxford University Press, 2017.

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42

Flach, Sabine, Jan Söffner, and Joerg Fingerhut. Habitus in Habitat III: Synaesthesia and Kinaesthetics. Lang AG International Academic Publishers, Peter, 2011.

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43

Chare, Nicholas. After Francis Bacon: Synaesthesia and Sex in Paint. Taylor & Francis Group, 2017.

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44

Mirror-Touch Synaesthesia: Thresholds of Empathy with Art. Oxford University Press, 2017.

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45

Chare, Nicholas. After Francis Bacon: Synaesthesia and Sex in Paint. Taylor & Francis Group, 2016.

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46

Deroy, Ophelia, ed. Sensory Blending. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199688289.001.0001.

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If synaesthesia is defined, as Cytowic once proposed, as a strange sensory blending, the category can include many other cases beyond the well-known colored-hearing and color-grapheme experiences. The extension of the category of synaesthesia to cases like mirror-touch, personification, crossmodal mappings, and drug experiences has helped produce a range of new evidence for the causes and prevalence of the condition. It also raises new questions regarding the unity of the synaesthetic label. The volume provides an overview of the varieties of sensory blending counted as ‘synaesthetic’, and discusses whether they should be viewed as a single condition or as several distinct, more or less related phenomena. The volume brings together contributions from leading cognitive neuroscientists and philosophers to consider for the first time the broader theoretical lessons arising from these cases of sensory blending, whether for the nature of perception and consciousness in general, the boundaries between perception, illusion, and imagination, the nature of vicarious experiences, or the unity of the senses.
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47

Rossella Catanese, Francesca Scotto Lavina, Valentina Valente. From Sensation to Synaesthesia in Film and New Media. Cambridge Scholars Publishing, 2019.

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48

Wiseman, Ari, and Judith Zilczer. Visual Music: Synaesthesia in Art and Music Since 1900. Thames & Hudson, 2005.

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49

Dann, Kevin T. Bright Colors Falsely Seen: Synaesthesia and the Search for Transcendental Knowledge. Yale University Press, 1998.

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50

Dann, Kevin T. Bright Colors Falsely Seen - Synaesthesia and the Search for Transcendental Knowledge. Yale University Press, 2013.

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