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1
Carmichael, Duncan Andrew. "Synaesthesia and comorbidity". Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/15796.
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Synaesthesia is a hereditary, neurological condition in which common stimuli trigger unexpected secondary sensations. For example, reading letters may result in the visualisation of colour, a variant known as grapheme-colour synaesthesia. While synaesthesia is thought to confer a range of benefits such as improved memory, empathy, visual search and creativity to the synaesthete, there is a small, yet growing, body of evidence that suggests synaesthesia may also be associated with more clinical conditions. This thesis investigates potential associations between synaesthesia and a range of clinical conditions, identifying a set of cormorbidities, and exploring the possible genetic roots of these associations. First, I identified an increased prevalence of multiple sclerosis (MS) and its clinical precursor, radiologically isolated syndrome (RIS) in synaesthetes self-referring for participation in scientific studies. Furthermore, I identified an increased occurrence of anxiety disorder in randomly sampled synaesthetes. In addition, I show that synaesthetes with anxiety disorder experience reduced luminance in their synaesthetic colours. I also conducted an association study into the genetic origins of synaesthesia and propose the immune hypothesis of synaesthesia, which provides a theoretical basis for comorbidities (linked to the altered cortical connectivity thought to underlie the development of synaesthesia). Finally, in phenotyping synaesthesia in individuals, I also validated the most widely used online test for synaesthesia, and use this test to provide a reliable prevalence of grapheme-colour synaesthesia in the general population. Such baselines are important for establishing whether other (e.g., clinical) populations are showing rates of synaesthesia higher than otherwise expected. I also demonstrate there is no significant difference in grapheme-colour synaesthesia prevalence between the sexes and discuss its implications for genetic theories of synaesthesia.
2
Mankin, Jennifer Lauren. "The psycholinguistics of synaesthesia". Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/76640/.
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To most people, a question like “What colour is the letter A?” may seem nonsensical, but to a grapheme-colour synaesthete, each letter and word has an automatically evoked colour sensation associated with it. This thesis asks whether the synaesthetic colours for letters and words are shaped by the same influences that inform the typical use of language – that is, if grapheme-colour synaesthesia is fundamentally psycholinguistic in nature. If this is the case, the colour experiences of synaesthetes for letters and words can also be used to investigate long-standing questions about how language acquisition and processing work for everyone. This thesis addresses two aspects of the psycholinguistic roots of synaesthesia: structure/morphology and meaning/semantics. The first two studies on word structure collected colour responses from synaesthetes for compound words (e.g. rainbow), the constituent morphemes of those words separately (e.g. rain and bow), and the letters that in turn form those words (e.g. R, A, B, etc.). These studies showed that synaesthetic word colouring does indeed encode linguistic properties such as word frequency and morphological structure. Furthermore, both linguistic and colour elements of words were important in determining their synaesthetic colour. The second two studies turned to the semantic aspect of language, asking how the meanings associated with words (e.g. red, fire) and even individual letters (e.g. A, Q) can influence the colours that a synaesthete experiences for them. The first of these studies indicated that the synaesthetic colour for a word like red or fire was measurably influenced by the colour that word typically evokes (e.g. the red of red and the orange of fire). The second showed that trends in letter-colour associations in large-scale studies (e.g. A is typically red) may be rooted in connections to particular words (e.g. A is red because A is for apple and apples are red). Overall, this thesis shows that both word structure and meaning have a systematic, measureable effect on synaesthetic colour, which allows these colours to then be used as a new tool to investigate psycholinguistic questions.
3
Anderson, Hazel Patricia. "Synaesthesia, hypnosis and consciousness". Thesis, University of Sussex, 2015. http://sro.sussex.ac.uk/id/eprint/54236/.
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For people with synaesthesia, a percept or concept (inducer) triggers another experience (concurrent) which is usually in a different modality. The concurrent is automatic, and in the case of certain types of synaesthesia also consistent, however the relationship between the inducer and concurrent is not fully understood and shall be investigated in this thesis from different perspectives. The first is using hypnosis to suggest synaesthesia-like phenomenological experiences to participants, and measuring behavioural responses to see whether they behave in a similar manner to developmental synaesthetes. Results from hypnotic; 1) grapheme-colour (GC) synaesthesia; 2) motion-sound synaesthesia; suggest that phenomenological experiences similar to developmental synaesthesia can be experienced by highly susceptible participants, but is not associated with the same behaviour as developmental synaesthetes. Developmental GC synaesthetes were tested to determine whether a grapheme presented preconsciously binds with the concurrent colour to the extent that it influences behaviour or evokes the phenomenology of colour. Two techniques were used, gaze-contingent substitution (GCS) and continuous flash suppression (CFS). Using GCS, it was shown that although digits can be primed preconsciously, they don't bind with their concurrent colour to influence behaviour. Nevertheless, many synaesthetes still experienced colours though they didn't necessarily match the primed digit. CFS experiments showed that the colour of a grapheme's concurrent, or whether the grapheme is presented in the correct or incorrect colour for that synaesthete, doesn't influence the time for conscious perception of a grapheme, even though colour words presented in the correct colour are perceived faster than those in the wrong colour. Phenomenological differences were compared to the behavioural measures using questionnaires modified using factor analysis (the R-RSPA and R-ISEQ). Overall, inducers must be seen consciously for them to bind with the concurrent, and experiencing the phenomenology of synaesthesia is not sufficient to behave like a synaesthete.
4
Spiller, Mary Jane. "Mental imagery in synaesthesia". Thesis, University of East London, 2009. http://roar.uel.ac.uk/3092/.
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The current thesis addressed the question of whether an internally generated mental image can elicit a concurrent in grapheme colour synaesthesia; although there is experimental and anecdotal evidence that this is the case, to date this had not been systematically explored. As there are purportedly distinct object-based and spatial-based imagery processes it was necessary to explore the role different imagery processes may play. In Experiment 1 synaesthetes and matched control groups completed a grapheme-based object-imagery task against congruently and incongruently coloured backgrounds. Four synaesthetes, but none of the control groups, showed an effect of colour on task performance. In Experiment 2 and 3 synaesthetes (and matched controls for Experiment 2) completed a grapheme-based spatial-imagery task, with either the stimuli or background colour manipulated as before. In each experiment colour was found to interact with grapheme presentation format for two different synaesthetes. Experiments 1-3 therefore provided support for the idea that an internally generated mental image can elicit a concurrent. Importantly, the results suggested a difference in the way the concurrent generated from object or spatial imagery processes influenced task performance. Consequently Experiments 4 and 5 used a battery of comparable imagery tasks that had either an object or spatial rate-limiting imagery process. Manipulation of the task background colour again showed the variety of effects the concurrent generated with these different imagery processes can have on task performance. Overall the results of these experiments suggest that a concurrent can be elicited from both object and spatial imagery processes; important individual differences were found, and individual performance varied between tasks, suggesting the possible role of strategy effects. Models of synaesthesia need to be able to explain these differences and further studies are needed to address this issue of task approach.
5
Gould, Cassandra. "Individual differences in synaesthesia : qualitative and fMRI investigations on the impact of synaesthetic phenomenology". Thesis, University of Sussex, 2014. http://sro.sussex.ac.uk/id/eprint/51554/.
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Synaesthesia is a cognitive trait in which stimuli of one sensory modality are automatically and consistently experienced in conjunction with perceptions in a separate modality or processing stream. Investigations of synaesthesia may help determine the neural processing required in the generation of a conscious experience. In order to gain the most complete understanding of synaesthesia, we have applied an integrated neurophenomenological approach. In Chapter 2 we present an extended case study of spatial-form synaesthesia (SFS) phenomenology. This investigation goes significantly beyond the rudimentary accounts of provided elsewhere, and provides novel observations on inducer-concurrent relationships, suggesting that guided introspection techniques can provide neurobehaviourally relevant information. In Chapters 3-5 we investigate neural activity in grapheme-colour synaesthesia (GCS). In Chapter 3 we demonstrate that activation in colour selective areas during synaesthetic colour processing is dependent on individual differences in phenomenology, thereby reconciling previous attempts to replicate this key finding in the GCS literature. In Chapter 4 we find no evidence for trait level differences in context specific functional connectivity in GCS, however, we demonstrate that localisation of the synaesthetic concurrents modulate connectivity between colour and low-level visual areas. In 5 we replicate findings of trait level differences in resting state fronto-parietal networks, suggesting that the RFPN may be a significant network in aspects of the synaesthetic experience common to all participants. We demonstrate that localisation of concurrents also modulates resting state visual networks, whilst automaticity of concurrents modulates parietal networks. Both Chapters 4 and 5 support a model of synaesthesia in which localisation of concurrents is modulated by bottom-up connectivity, between colour and early visual areas. This thesis demonstrates that individual differences in synaesthetic phenomenology significantly impact neural activity. We propose that future investigations place emphasis on the phenomenological experience of the participant in the interpretation of neural effects.
6
Gray, Richard. "Synaesthesia : an essay in philosophical psychology". Thesis, University of Edinburgh, 2001. http://hdl.handle.net/1842/1723.
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We are sometimes led to a different picture of things when something unexpected occurs which needs explaining. The aim of this thesis is to examine a series of related issues in the philosophy of mind in the light of the unusual condition known to psychologists as ‘synaesthesia’. Although the emphasis will be on the philosophical issues a view of synaesthesia itself will also emerge. Synaesthesia is a distinct type of cross-modal association: stimulation of one sensory modality automatically triggers an additional phenomenal character of experience associated with a second sensory modality in the absence of any direct stimulation of the second modality. Chapter 1 introduces synaesthesia to a philosophical audience by outlining the early history of synaesthesia studies, by summarising contemporary research and by indicating areas of philosophical interest to be considered in the rest of the thesis. Chapter 2 uses synaesthesia to examine one important philosophical model of the mind, Fodor’s modularity hypothesis, and, in turn, investigates the nature of synaesthesia in the light of that model. Fodor claims that cognitive modules can be thought of as belonging to a psychological natural kind in virtue of their possession of most or all of nine specified properties. The most common form of synaesthesia possesses Fodor’s nine specified properties of modularity, and hence it should be understood in terms of an extra cognitive module, and thus as belonging to the abovementioned psychological natural kind. Many psychologists believe that synaesthesia involves a breakdown in modularity. A breakdown in modularity would also explain the apparent presence of the nine specified properties in synaesthesia. I discuss the two concepts of function which underlie the respective theories, defending the breakdown thesis, arguing, in any case, that properties deriving from evolutionary history should also be used to decide between the two theses and thus ultimately membership of a psychological natural kind such as Fodor suggests. The argument is then used to respond to two challenges to the notion of a psychological natural kind. Chapter 3 focuses on the phenomenal character of synaesthetic experience. Externalists about the phenomenal character of experience tend to argue that the character of perceptual experience is to be explained either by the properties objects present to percipients, or by the properties objects are represented by percipients as having. Some internalists argue that there is a need to postulate hrther properties of the individual - in other words, qualia - to account for the individuation of the character of perceptual experience. The existence of additional phenomenal characters of experience in synaesthesia, which cannot directly be explained by reference to features of objects, suggests the existence of extra qualia and thus the presence of qualia in normal perception. The aim of this chapter is to meet the challenge presented by synaesthesia and the extra quaZia argument, and contrariwise, use synaesthesia as a way of fbrther clarifjmg the merits of the respective externalist positions. In the previous chapters the locution of ‘coloured hearing’ will have been adopted. Occasionally the process underlying synaesthesia is described as one of ‘hearing colours’. Chapter 4 rejects the latter usage. In so doing it focuses on the place of synaesthesia vis-a-vis normal perceptual processes. Considerations from previous chapters are further developed in order to shed light both on the metaphysical individuation of perceptual modalities and on how we know the distinctive perceptual modalities. Given the actual content of our concepts of perceptual modalities, it is argued that the actual world is one in which even synaesthetes are unable to hear colours. Consideration is given as to whether there is a possible world in which people could hear colours. The justification of the usage of ‘coloured-hearing’ then leads to a discussion of the relative importance of the individuating conditions of modes of perception. The thesis focuses largely on coloured hearing. What merits the preceding considerations have might be supported if they can be generalised. Chapter 5 goes a small way in that direction.
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Janik, Agnieszka. "Synaesthesia : mechanisms and broader traits". Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/18236/.
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Synaesthesia is a condition in which perceptual or conceptual stimulation in one modality leads to additional experiences within the same or different modality. In grapheme-colour synaesthesia achromatic letters or numbers elicit secondary synaesthetic colour experiences while in mirror-touch synaesthesia observing touch to another person results in tactile sensations on a synaesthete’s own body. This thesis examines broader differences in personality and social perception associated with synaesthesia and investigates neural mechanisms underlying social perception in typical adults. Firstly, an association between grapheme-colour synaesthesia and personality traits was examined which revealed an altered personality profile in this group. Additionally grapheme-colour synaesthesia showed typical and (in some cases) superior social perception abilities relative to typical adults which most likely reflects wider perceptual differences related to sensitivity to high spatial frequency information previously found in this group. Secondly, an investigation into the wider consequences of mirror-touch synaesthesia revealed that the presence of this form of synaesthesia is linked with lower levels of alexithymia relative to typical adults and lower interoceptive sensitivity relative to grapheme-colour synaesthetes and controls. This thesis also explored the neural mechanisms underlying social perception in typical adults using non-invasive transcranial alternating current stimulation. This revealed that enhancing occipital gamma oscillations facilitates facial anger perception offering a new avenue to examine the neural mechanisms underlying social perception advantage in synaesthesia. Current findings are discussed in the context of existing literature on synaesthesia and social perception.
8
Watson, Marcus Robert. "Synaesthesia and learning : a bidirectional relationship". Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44736.
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I present new evidence about the relationships between learning and synaesthesia, particularly grapheme-colour synaesthesia, in which individuals experience letters and numbers as coloured. As part of the largest survey of synaesthetic tendencies ever performed, I show that second language acquisition can act as a trigger for the development of synaesthesia, such that children who learn a second language in grade school are three times more likely to develop synaesthesia as native bilinguals. I also demonstrate that previous reports of a sex bias in synaesthesia are almost certainly due to response and compliance biases, rather than any real differences in the prevalence of synaesthesia between men and women. In a detailed examination of the influences of learning on synaesthetic experiences, I show that synaesthetic colours are influenced by knowledge about letters’ shapes, frequencies, alphabetical order, phonology, and categorical qualities. Finally, I demonstrate that synaesthesia can itself be exploited in learning. All these results are presented as supporting a developmental learning hypothesis of synaesthesia, in which synaesthesia develops, at least in part, because it is useful.
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Steven, M. S. "Neuroimaging of multisensory processing and synaesthesia". Thesis, University of Oxford, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.410663.
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Field, Deborah. "Patterns of lexical synaesthesia in Japanese". Thesis, Canberra, ACT : The Australian National University, 1990. http://hdl.handle.net/1885/132952.
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The phenomenon known as Tsynaesthesia' -- "the
translation of attributes of sensation from one sensory
domain to another" (Marks, 1975:303) .-- is one of
the most intriguing products of the human mind, and
represents one area of study which extends into a
number of academic disciplines, including physiology,
psychology, philosophy, aesthetics, literary criticism,
and linguistics. Perhaps the most commonplace of
all synaesthetic correspondences is the conjunction
of the sense modality of sight (colour) and touch
(thermal sensations): Blue and green are often perceived
and described as cool colours , red and yellow as
warm.
11
Lee, Chang Hee. "Synaesthesia materialisation : approaches to applying synaesthesia as a provocation for generating creative ideas within the context of design". Thesis, Royal College of Art, 2019. http://researchonline.rca.ac.uk/3756/.
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For the past three decades, research on the topic of synaesthesia has been largely dominated by the field of psychology and neuroscience, and has focused on scientifically investigating its experience and causes to define the phenomenon of synaesthesia. However, the scientific research on this subject is now enquiring into potential future implementations and asking how this subject may be useful to wider audiences, and is attempting to expand its research spectrum beyond the mere scientific analysis. This PhD research in design by practice attempts to contribute and expand this scope: it shares a creative interpretation of synaesthesia research and questions its existing boundary. The past synaesthesia research in design has been largely focused on the possibility and potentials of sensory optimisation and cross-modal sensory interaction between users and artefacts. However, this research investigates the provocative properties and characteristics of synaesthesia and shares different approaches to its application for generating creative ideas in design. This PhD research presents nine projects, and they consist of approaches to synaesthesia application, toolkits and validations. Synaesthesia is one of those rare subjects where both science and creative context intersect and nurture each other. By looking into this PhD research, readers may gain insights of how a designer tries to discover a new value within this interdisciplinary context. This research contributes three types of new knowledge and new perspectives. Firstly, it provides a new interpretation and awareness in and of synaesthesia research, and expands its research boundaries, moving from analysis based research to application based research. Secondly, it outlines three approaches, a range of themes and toolkits for using synaesthesia as a provocation in generating creative ideas in the design process. Thirdly, it identifies the differences between previous synaesthesia application research and current application research within the context of design. Research on the topic of synaesthesia has been boosted significantly since the technological innovations (e.g. fMRI brain scanning and neuroimaging) in the early 1990s. However, this research was somewhat limited to scientific analysis analysis in order to understand the nature of the phenomenon. This research paradigm and the scientific focus have now shifted, and they are attempting to discover the potentials of synaesthesia's usefulness through different disciplines and channels. How can we apply the provocative qualities of synaesthesia within the context of design? This research journey begins by investigating this foundational question from a designer's point of view.
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Niccolai, Valentina [Verfasser]. "Demographic Characteristics and Neural Mechanisms of Synaesthesia / Valentina Niccolai". Düsseldorf : Universitäts- und Landesbibliothek der Heinrich-Heine-Universität Düsseldorf, 2011. http://d-nb.info/1015458084/34.
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Poueymirou, Margaux Lynn Rosa. "The sixth sense : synaesthesia and British aestheticism, 1860-1900". Thesis, University of St Andrews, 2009. http://hdl.handle.net/10023/952.
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“The Sixth Sense: Synaesthesia and British Aestheticism 1860-1900” is an interdisciplinary examination of the emergence of synaesthesia conceptually and rhetorically within the ‘art for art’s sake’ movement in mid-to-late Victorian Britain. Chapter One investigates Swinburne’s focal role as both theorist and literary spokesman for the nascent British Aesthetic movement. I argue that Swinburne was the first to practice what Pater meant by ‘aesthetic criticism’ and that synaesthesia played a decisive role in ‘Aestheticising’ critical discourse. Chapter Two examines Whistler’s varied motivations for using synaesthetic metaphor, the way that synaesthesia informed his identity as an aesthete, and the way that critical reactions to his work played a formative role in linking synaesthesia with Aestheticism in the popular imagination of Victorian England. Chapter Three explores Pater’s methods and style as an ‘aesthetic critic.’ Even more than Swinburne, Pater blurred the distinction between criticism and creation. I use ‘synaesthesia’ to contextualise Pater’s theory of “Anders-streben” and to further contribute to our understanding of his infamous musical paradigm as a linguistic ideal, which governed his own approach to critical language. Chapter Four considers Wilde’s decadent redevelopment of synaesthetic metaphor. I use ‘synaesthesia’ to locate Wilde’s style and theory of style within the context of decadence; or, to put it another way, to locate decadence within the context of Wilde. Each chapter examines the highly nuanced claim that art should exist for its own sake and the ways in which artists in the mid-to-late Victorian period attempted to realise this desire on theoretical and rhetorical levels.
14
Hung, Wan-Yu. "Investigation into the underlying linguistic cues of Chinese synaesthesia". Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/5042.
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Synaesthesia is a neurological condition in which a sensory or cognitive stimulus consistently co-activates another sensory/cognitive quality, in addition to its usual qualities. For example, synaesthetes might see colours when they read words. This additional quality can be from a different modality (e.g., tactile stimuli triggering colour in addition to touch sensations) or from different aspects within the same modality (e.g. visually perceived shape stimuli triggering colour in addition to shape sensations). Coloured language is one of the most common, and most studied types of synaesthesia. The processes that govern such systematic associations of colours and language have been linked to the mechanisms underlying the processing of language. This thesis provides the first psycholinguistic exploration of synaesthesia in Chinese, in particular about how synaesthetic colouring is triggered from Chinese characters and their phonetic spellings in relation to psycholinguistic processes of character recognition. This thesis presents six empirical studies to provide evidence for the following facts: (a) that synaesthetic colouring of Chinese characters is a genuine phenomenon in the Chinese population and may affect as many as 1 in 100 Chinese people, with a (non-significant) female-to-male ratio of about 2:1; (b) that synaesthetic colours are influenced by the characters' constituent radicals (i.e., morphemic units), and (c) also by their associated phonetic spellings (in the spelling systems known as Pinyin and Bopomo); and (d) that even non-synaesthete Chinese speakers colour characters in predictable ways. These findings are discussed in relation to native (L1) versus non-native (L2) Chinese synaesthetes, and to the Chinese versus English systems. Hence, a further issue of this thesis considers how synaesthetic colouring in one's first language may affect their colouring in later-acquired languages. Synaesthetic transfer is discussed in relation to how, and how fast, the transfer can be established to a new language. Taken together, this thesis provides the most detailed information so far available about mechanisms that trigger synaesthetic colours in the Chinese language.
15
Evans, G. L. "Cinema and synaesthesia : inter-sensory connections in recent French film". Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.598872.
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Work by Laura Marks and Vivian Sobchack has triggered a rethinking of the way film evokes sensory experience, and existing models of the spectator have been shattered in favour of a responsive, bodily, film viewer, for whom sensation is overwhelmingly affective. This thesis seeks to balance this work with an appraisal of how relationship between and among senses colour the spectator’s engagement with the narrative dimension of cinema. This exploration is conducted in the light of audio-visual film’s status as the first synaesthetic mass-medium. Consequently, the analysis looks beyond film studies and film theory, extending particularly into cognitive psychology, cultural studies, art, literature, and film history. Cinema’s consistently audio-visual nature suggests the peculiar strengths of this pairing and their interrelation is the focus of the first half of the thesis. As well as the mutually reinforcing quality foreseen in early visions of a synaesthesia machine, the tension produced by combining these two ‘distance senses’ is seen to lend depth and piquancy to the scenarios they describe. The second half of the thesis considers the ways sensations beyond the audio-visual can be invoked, arguing that smell and touch are significant strands in inter-personal relationships, which demand a role in meaningful human narrative. These questions are advanced through close study of six post-1990 films: Krzysztof Kieślowski’s Trois Couleurs trilogy, Bleu, Blanc and Rouge, and Claire Denis’ Nénette et Boni, Trouble Every Day and L’Intrus. While the two directors might be considered to be quite different in their approach to film-making, they share a mutual concern with highly crafted narrative, characterised by extreme sensitivity to questions of humanity and by economy of dialogue.
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Sobczak-Edmans, Monika. "A systematic study of personification in synaesthesia : behavioural and neuroimaging studies". Thesis, Brunel University, 2013. http://bura.brunel.ac.uk/handle/2438/8271.
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In synaesthetic personification, personality traits and other human characteristics are attributed to linguistic sequences and objects. Such non-perceptual concurrents are different from those found in most frequently studied types of synaesthesia, in which the eliciting stimuli induce sensory experiences. Here, subjective reports from synaesthetes were analysed and the cognitive and neural mechanisms underlying personification were investigated. Specifically, the neural bases of personification were examined using functional MRI in order to establish whether brain regions implicated in social cognition are involved in implementing personification. Additional behavioural tests were used to determine whether personification of inanimate objects is automatic in synaesthesia. Subjective reports describing general characteristics of synaesthetic personification were collected using a semi-structured questionnaire. A Stroop-like paradigm was developed in order to examine the automaticity of object personification, similarly to the previous investigations. Synaesthetes were significantly slower in responding to incongruent than to congruent stimuli. This difference was not found in the control group. The functional neuroimaging investigations demonstrated that brain regions involved in synaesthetic personification of graphemes and objects partially overlap with brain areas activated in normal social cognition, including the temporo-parietal junction, precuneus and posterior cingulate cortex. Activations were observed in areas known to be correlated with mentalising, reflecting the social and affective character of concurrents described in subjective reports. Psychological factors linked with personification in previous studies were also assessed in personifiers, using empathy, mentalising and loneliness scales. Neither heightened empathy nor mentalising were found to be necessary for personification, but personifying synaesthetes in the study felt lonelier than the general population, and this was more pronounced in those who personified more. These results demonstrate that personification shares many defining characteristics with classical forms of synaesthesia. Ascribing humanlike characteristics to graphemes and objects is a spontaneous and automatic process, inducer-concurrent pairings are consistent over time and the phenomenological character of concurrents is reflected in functional neuroanatomy. Furthermore, the neuroimaging findings are consistent with the suggestions that synaesthetes have a lower threshold for activation brain regions implicated in self-projection and mentalising, which may facilitate the personification processes in synaesthesia.
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Banissy, M. J. "Mirror-touch synaesthesia : the role of shared representations in social cognition". Thesis, University College London (University of London), 2010. http://discovery.ucl.ac.uk/19307/.
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Synaesthesia is a condition in which one property of a stimulus results in conscious experiences of an additional attribute. In mirror-touch synaesthesia, the synaesthete experiences a tactile sensation on their own body simply when observing touch to another person. This thesis investigates the prevalence, neurocognitive mechanisms, and consequences of mirror-touch synaesthesia. Firstly, the prevalence and neurocognitive mechanisms of synaesthesia were assessed. This revealed that mirrortouch synaesthesia has a prevalence rate of 1.6%, a finding which places mirror-touch synaesthesia as one of the most common variants of synaesthesia. It also indicated a number of characteristics of the condition, which led to the generation of a neurocognitive model of mirror-touch synaesthesia. An investigation into the perceptual consequences of synaesthesia revealed that the presence of synaesthesia is linked with heightened sensory perception - mirror-touch synaesthetes showed heightened tactile perception and grapheme-colour synaesthetes showed heightened colour perception. Given that mirror-touch synaesthesia has been shown to be linked to heightened sensorimotor simulation mechanisms, the impact of facilitated sensorimotor activity on social cognition was then examined. This revealed that mirror-touch synaesthetes show heightened emotional sensitivity compared with control participants. To compliment this, two transcranial magnetic stimulation (TMS) studies were then conducted to assess the impact of suppressing sensorimotor activity on the expression recognition abilities of healthy adults. Consistent with the findings of superior emotion sensitivity in mirror-touch synaesthesia (where there is facilitated sensorimotor activity), suppressing sensorimotor resources resulted in impaired expression recognition across modalities. The findings of the thesis are discussed in relation to neurocognitive models of synaesthesia and of social cognition.
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Beaumont, C. Mark. "Musical synaesthesia in synaesthetes and its manifestation as a wider phenomenon". Thesis, University of Sheffield, 2004. http://etheses.whiterose.ac.uk/14856/.
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This thesis has been titled 'Musical Synaesthesia in Synaesthetes and its Manifestation as a Wider Phenomenon', in order to give an indication of the broadness of the subject area that it addresses. It looks at ways in which types of association normally associated with one of the five sensory channels sometimes make connections with, and produce stimulation of, any combination of the other four. Although the thesis touches on most known perspectives of this large topic, all of which are interconnected, it focuses on just two of these areas. Firstly, it deals with a condition which affects a small minority of the population known as ·synaesthesia'. 'Synaesthesia' is derived from the Greek combining syn meaning to combine and aesthises meaning perceived by the senses. This word was coined in the 1870s, probably by Fechner. People with synaesthesia experience involuntary sensations that do not exist in the external world but which are triggered by sensations which belong to another sensory channel. There are, for example, synaesthetes that who hear sounds as colours, taste textures, or hear odours. The first of these three examples is, by far, the most common type of synaesthesia and is especiaJIy relevant to this thesis since it deals with musical synaesthesia Musical synaesthesia usually involves strong and specific colours in connection with musical sounds. This introduces the thesis' second focal point, that of music. Coloured sensations in the absence of coloured stimuli are especially frequent as responses to music and musical material is used in this thesis to test such responses. It seems likely that Messiaen was a synaesthetic musician, and possible that Skryabin was also. In a more general way, the notion of music being coloured is not confined exclusively to synaesthetes. Numerous non-synaesthetic people maintain that certain keys, intervals, chords or sounds of certain musical instruments are coloured. Given that there are more non-synaesthetic people than there are synaesthetic people, it seems likely that the former group are predominantly responsible for the gravitation towards coloured music and towards musical paintings during the second half of the second half of the nineteenth century. Therefore, the term 'synaesthesia' might arguably be used to define this phenomenon with as much validity as it is used to define the neurological condition. It is from the above standpoint that we can gain a greater understanding of a certain prevalent spirit of the late nineteenth and early twentieth century's 'age of synaesthesia'. Although this standpoint is not convincing from a neurological point of view, it is relevant to the study of the internal worlds of several musicians, writers and painters. This is my justification for writing about synaesthesia as a wider phenomenon.
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Goller, Aviva Idit. "Perceptual abnormalities in amputees : phantom pain, mirror-touch synaesthesia and referred tactile sensations". Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/39679/.
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It is often reported that after amputation people experience "a constant or inconstant ... sensory ghost ... faintly felt at time, but ready to be called up to [their] perception" (Mitchell, 1866). Perceptual abnormalities have been highlighted in amputees, such as sensations in the phantom when being stroked elsewhere (Ramachandran et al., 1992) or when observing someone in pain (Giummarra and Bradshaw, 2008). This thesis explored the perceptual changes that occur following amputation whist focusing on pain, vision and touch. A sample of over 100 amputees were recruited through the National Health Service. Despite finding no difference in phantom pain based on physical amputation details or nonpainful perceptual phenomena, results from Paper 1 indicated that phantom pain may be more intense, with sensations occurring more frequently, in amputees whose pain was triggerinduced. The survey in Paper 2 identified a group of amputees who in losing a limb acquired mirror-touch synaesthesia. Higher levels of empathy found in mirror-touch amputees might mean that some people are predisposed to develop synaesthesia, but that it takes sensory loss to bring dormant cross-sensory interactions into consciousness. Although the mirror-system may reach supra-threshold levels in some amputees, the experiments in Paper 3 suggested a relatively intact mirror-system in amputees overall. Specifically, in a task of apparent biological motion, amputees showed a similar, although weaker, pattern of results to normalbodied participants. The results of Paper 4 showed that tactile spatial acuity on the face was also largely not affected by amputation, as no difference was found between the sides ipsilateral and contralateral to the stump. In Paper 5 cross-modal cuing was used to investigate whether referred tactile sensations could prime a visually presented target in space occupied by the phantom limb. We conclude that perception is only moderately affected in most amputees, but that in some the sensory loss causes normally sub-threshold processing to enhance into conscious awareness.
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Gheri, Carolina. "The role of salience on crowding and visual search in the context of synaesthesia". Thesis, City University London, 2008. http://openaccess.city.ac.uk/11924/.
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Visual crowding is a phenomenon in which the identification of visual stimuli is impaired by nearby directions. it occurs both for simple stimuli (oriented lines) and for more complex forms. The literature on crowding is reviewed, along with relevant literature on visual search and stimulus salience. Experiments are reported to test the idea that visually salient stimuli can escape, in part from crowding. The salience of stimuli was manipulated by varying their motion direction, colour, or temporal frequency relative to dis tractors. Salience was also measured independently of crowding using the pop out paradigm in visual search. Results showed that stimuli independently defined as salient did escape, in part, from crowding. A following experiment attempted to see whether the same would be true for the subjective colours experienced by synaesthetes.
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Neufeld, Janina [Verfasser]. "Top-down Processes in Synaesthesia - Evidence from Functional Neuroimaging and Illusion Research / Janina Neufeld". Hannover : Bibliothek der Tierärztlichen Hochschule Hannover, 2012. http://d-nb.info/1036627985/34.
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Moos, Anja C. "Do colourless green voices speak furiously? : linkages between phonetic and visual perception in synaesthesia". Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4047/.
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Synaesthesia is an unusual phenomenon, in which additional sensory perceptions are triggered by apparently unrelated sensory or conceptual stimuli. The main foci of this thesis lie in speech sound - colour and voice-induced synaesthesia. While grapheme-colour synaesthesia has been intensively researched, few studies have approached types of synaesthesia based on vocal inducers with detailed acoustic-phonetic and colorimetric analyses. This approach is taken here. First, a thorough examination of speech-sound - colour synaesthesia was conducted. An experiment is reported that tested to what extent vowel acoustics influence colour associations for synaesthetes and non-synaesthetes. Systematic association patterns between vowel formants and colour measures could be found in general, but most strongly in synaesthetes. Synaesthetes also showed a more consistent pattern of vowel-colour associations. The issue of whether or not speech-sound - colour synaesthesia is a discrete type of synaesthesia independent of grapheme-colour synaesthesia is discussed, and how these might influence each other. Then, two experiments are introduced to explore voice-induced synaesthesia. First, a comprehensive voice description task was conducted with voice synaesthetes, phoneticians and controls to investigate their verbal voice quality descriptions and the colour and texture associations that they have with voices. Qualitative analyses provided data about the nature of associations by the participant groups, while quantitative analyses revealed that for all groups, acoustic parameters such as pitch, pitch range, vowel formants and other spectral properties influenced colour and texture associations in a systematic way. Above all, a strong connection was found between these measures and luminance. Finally, voice-induced synaesthetes, other synaesthetes and controls participated in a voice line-up, of the kind used in forensic phonetic case work. This experiment, motivated by previous findings of memory advantages in synaesthetes in certain areas, tested whether synaesthetes’ voice memory is influenced by their condition. While no difference in performance was found between groups when using normal speech, voice-induced synaesthetes outperformed others in identifying a whispering speaker. These are the first group studies on the otherwise under-researched type of voice-induced synaesthesia, with a focus on acoustic rather than semantic analysis. This adds knowledge to the growing field of synaesthesia research from a largely neglected phonetic angle. The debate around (re)defining synaesthesia is picked up. The voice description experiment, in particular, leads to a discussion of a synaesthesia spectrum in the population, as many common mechanisms and associations were found. It was also revealed that less common types of synaesthesia are often difficult to define in a rigid way using traditional criteria. Finally, the interplay of different types of synaesthesia is discussed and findings are evaluated against the background of the existing theories of synaesthesia.
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Kusnir, Maria Flor. "Automatic letter-colour associations in non-synaesthetes and their relation to grapheme-colour synaesthesia". Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/4922/.
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Although grapheme-colour synaesthesia is a well-characterized phenomenon in which achromatic letters and/or digits involuntarily trigger specific colour sensations, its underlying mechanisms remain unresolved. Models diverge on a central question: whether triggered sensations reflect (i) an overdeveloped capacity in normal cross-modal processing (i.e., sharing characteristics with the general population), or rather (ii) qualitatively deviant processing (i.e., unique to a few individuals). We here address this question on several fronts: first, with adult synaesthesia-trainees and second with congenital grapheme-colour synaesthetes. In Chapter 3, we investigate whether synaesthesia-like (automatic) letter-colour associations may be learned by non- synaesthetes into adulthood. To this end, we developed a learning paradigm that aimed to implicitly train such associations while keeping participants naïve as to the end-goal of the experiments (i.e., the formation of letter-colour associations), thus mimicking the learning conditions of acquired grapheme- colour synaesthesia (Hancock, 2006; Witthoft & Winawer, 2006). In two experiments, we found evidence for significant binding of colours to letters by non-synaesthetes. These learned associations showed synaesthesia-like characteristics despite an absence of conscious, colour concurrents, correlating with individual performance on synaesthetic Stroop-tasks (experiment 1), and modulated by the colour-opponency effect (experiment 2) (Nikolic, Lichti, & Singer, 2007), suggesting formation on a perceptual (rather than conceptual) level. In Chapter 4, we probed the nature of these learned, synaesthesia-like associations by investigating the brain areas involved in their formation. Using transcranial Direct Current Stimulation to interfere with two distinct brain regions, we found an enhancement of letter-colour learning in adult trainees following dlPFC-stimulation, suggesting a role for the prefrontal cortex in the release of binding processes. In Chapter 5, we attempt to integrate our results from synaesthesia-learners with the neural mechanisms of grapheme-colour synaesthesia, as assessed in six congenital synaesthetes using novel techniques in magnetoencephalography. While our results may not support the existence of a “synaesthesia continuum,” we propose that they still relate to synaesthesia in a meaningful way.
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Berger, Joshua. "Recognising the additional processing costs of synaesthesia; translational research using a novel tool, the Digit-Colour Calculator". Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/24607.
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Synaesthesia is an unusual sort of conscious perception defined by its contrast to what is normally experienced. Typically, in perception, a stimulus is paired with one normally perceived experience or percept. For example, when light enters the eye it usually elicits an experience of sight. The experiences of synaesthesia, however, are not so straightforward. Synaesthesia is characterised by the addition of one-or-more unusually experienced percepts, termed the concurrents, that are activated by attention to another stimulating percept, termed the inducer. For example, in grapheme-colour synaesthesia, written units of language (graphemes) are the inducers and colours are the concurrents.
The effects of synaesthesia are as wide and varied as its possible manifestations. For some people, having synaesthesia can be inextricably linked with a prodigious memory and for others their synaesthesia can cause them to suffer from perceptual confusion and overload. Each synaesthetic experience is more costly – at least in the near term – than its equivalent example from typical perception. It is one overarching goal of this thesis to formally describe these additional costs of synaesthesia. The primary reason is because these costs, although marginal at the outset, can balloon; this may happen when the effects of synaesthesia interact with the effects of a coincidental disorder – such as a disorder of literacy.
Indeed, the candidature from which this thesis is based was motivated by such a case, which has been reported in the second chapter. The main result from this case was the creation and testing of the Digit-Colour Calculator (DCC): an App designed for digit-colour synaesthesia. The DCC was “life-changing” for SP because she faced difficulties with calculations that can be encountered in everyday life, such as when “organising money”. By allowing the user to display its digits in the colours of their concurrents the DCC reduces the divergence between their synaesthesia and normal perception. The DCC is the first applied example of an intervention of this type and the investigations reported within this thesis focus on its effects. My main goal for this thesis is that it leads to further translational and applied work involving synaesthesia – in the hope it will be ‘life-changing’ for others.
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Hamilton-Fletcher, Giles. "How touch and hearing influence visual processing in sensory substitution, synaesthesia and cross-modal correspondences". Thesis, University of Sussex, 2015. http://sro.sussex.ac.uk/id/eprint/57955/.
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Sensory substitution devices (SSDs) systematically turn visual dimensions into patterns of tactile or auditory stimulation. After training, a user of these devices learns to translate these audio or tactile sensations back into a mental visual picture. Most previous SSDs translate greyscale images using intuitive cross-sensory mappings to help users learn the devices. However more recent SSDs have started to incorporate additional colour dimensions such as saturation and hue. Chapter two examines how previous SSDs have translated the complexities of colour into hearing or touch. The chapter explores if colour is useful for SSD users, how SSD and veridical colour perception differ and how optimal cross-sensory mappings might be considered. After long-term training, some blind users of SSDs report visual sensations from tactile or auditory stimulation. A related phenomena is that of synaesthesia, a condition where stimulation of one modality (i.e. touch) produces an automatic, consistent and vivid sensation in another modality (i.e. vision). Tactile-visual synaesthesia is an extremely rare variant that can shed light on how the tactile-visual system is altered when touch can elicit visual sensations. Chapter three reports a series of investigations on the tactile discrimination abilities and phenomenology of tactile-vision synaesthetes, alongside questionnaire data from synaesthetes unavailable for testing. Chapter four introduces a new SSD to test if the presentation of colour information in sensory substitution affects object and colour discrimination. Chapter five presents experiments on intuitive auditory-colour mappings across a wide variety of sounds. These findings are used to predict the reported colour hallucinations resulting from LSD use while listening to these sounds. Chapter six uses a new sensory substitution device designed to test the utility of these intuitive sound-colour links for visual processing. These findings are discussed with reference to how cross-sensory links, LSD and synaesthesia can inform optimal SSD design for visual processing.
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Bruno, Alexander. "Visual-Audio Media: Transformation and Communication". VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3768.
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Designers are often concerned with communication through the visual; we focus on the printed object, images on screens, furniture, spaces, and other visual experiences. We should also be cognizant of audio and its communicative properties, especially when contextualized with visual content. Pairing visuals and audio can make a greater impact upon a viewer/listener than each media might make alone. My research focuses on a practice of working within strict sets of rules and boundaries to create visual-audio work. This visual-audio work not only communicates a concept or idea, but also lives as a research artifact of my design processes.
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Granvik, Kim. "Bringing Numbers to Life: a Study in Synaesthetes’ Relationship to Mathematics". Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-36454.
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Synestesi är ett fenomen där flera sinnen och intryck samspelar, till exempel kan siffrorupplevas i färg. En del forskning har gjorts kring konsekvenserna av siffer-synestesi, men syftet med den här uppsatsen är att undersöka synesteters egna upplevelser. Med hjälp av kvalitativa intervjuer fokuserar jag på tre huvudområden i relation till synesteters personliga perspektiv: synestesi och kognition; synestesi och känslor, attityder och identitet; och synestesi och matematik. Resultaten tyder på att synesteter kan relatera till vad en del forskning har visat angående hur synestesi fungerar, men att människors individualitet alltid måste has i åtanke.Synaesthesia is a phenomenon where several senses and impressions interact, for example numbers may appear in colour. There has been some research on the consequences of number synaesthesia, but the purpose of this paper is to investigate the synaesthetes’ own experiences. Using qualitative interviews, I focus on three major areas in relation to synaesthetes’ personal perspective: synaesthesia and cognition; synaesthesia and emotions, attitudes and identity; and synaesthesia and mathematics. The results suggest that synaesthetes can relate to what some research has shown about how synaesthesia works, but that people’s individuality must always be kept in mind.
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Asher, J. E. "Identification and characterisation of candidate regions for susceptibility genes linked to auditory-visual synaesthesia utilising a whole-genome scan". Thesis, University of Cambridge, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.596183.
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An improved diagnostic and phenotyping instrument for synaesthesia (the Revised Test of Genuineness, TOG-R) was developed as the first phase of this project and used to diagnose and phenotype 43 families (n=196) with auditory-visual synaesthesia. Computer simulations confirmed that the sample had more than adequate power to detect a major gene effect. A whole-genome linkage scan using 410 microsatellite markers (mean inter-marker distance=9.05cM, mean information content=0.710) was performed. NPL analysis was conducted using MERLIN 1.1a/MINX 1.1a 14 potential candidate regions (LOD > 1) were fine-mapped at 5cM density and subjected to NPL analysis. An HLOD score analysis of the fine-mapping data for applicable chromosomes and the primary genome scan data for the remainder of the genome was also performed to address potential sample heterogeneity. Four candidate regions were identified, with the HLOD analysis detecting linkages missed out by the NPL analysis indicating substantial genetic heterogeneity. Significant linkage at the genome-wide level was detected to chromosome 2q (HLOD=3.025, empirical genome-wide p=0.047). Suggestive linkage (LOD > 2.2) was found to chromosomes 5q, 6p, and 12p. No support was found for linkage to the X-chromosome; furthermore, the study has identified the first confirmed cases of male-to-male transmission of synaesthesia. The results of this study that synaesthesia is a complex disorder with multiple modes of inheritance and substantial locus heterogeneity. Further work will include the development of endophenotypes and SNP-based fine-mapping or association studies.
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Giordano, Giulio. "A pockte stage (lights)". Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2021. http://hdl.handle.net/10400.5/22764.
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Dissertação de Mestrado em Design com a especialização em Design de Produto apresentada na Faculdade de Arquitetura da universidade de Lisboa para obtenção do grau de Mestre.A presente dissertação começou há alguns meses atrás através de uma intuição. Num laboratório de prototipagem em Nápoles, o autor concebeu uma lâmpada cortada a laser, cujo conceito era mostrar formas através da luz em vez de simplesmente iluminar. A intuição de que o movimento fosse de acordo com o som veio naturalmente, utilizando a luz como meio de comunicação e a música como a mensagem a ser traduzida visualmente. O produto resultante levou as seguintes perguntas: porquê a combinação de luz e som era aparentemente ‘cativante’ e porquê a escolha de trabalhar num produto tangível em vez de digital. A fase de investigação começou, dando forma ao estado da arte da dissertação. Uma série de fontes indispensáveis sobre as implicações biológicas e psicológicas do som e da luz começou a surgir, entre as quais se destacam três conceitos fundamentais: Psicoacústica, Sinestesia e Objectos Manuseáveis. Observando a paisagem musical, a forma como os artistas se apresentam presencialmente, em plataformas musicais e redes sociais, leva à seguinte reflexão: a nossa experiência sublinha a necessidade de completar a experiência auditiva envolvendo outro sentido: a vista. Reconhecendo a importância dos objectos Sinestésicos, foi realizada uma cronologia cujo resultado é uma colecção de figuras envolvidas na Música a Cores, em ser uma disciplina que progredia de mãos dadas com a música. Tendo identificado a Sinestesia audiovisual como base e lidando com o desenho da luz, o público alvo foi identificado em cantores e músicos. Através das entrevistas realizadas, os artistas expressaram a dificuldade em ter algo disponível para as performnce que acompanhasse a música. Surgiram assim elementos para redesenhar o primeiro protótipo e para confirmar a usabilidade do produto em locais pequenos. O resultado deste redesenho são três objectos diferentes, pela necessidade expressa de comunicar as várias frequências e o nível da música. As cores foram também introduzidas como elemento recorrente durante as entrevistas, e novos movimentos mecânicos foram adicionados. Devido ao corrente contexto de pandemia Covid-19 e à dificuldade em encontrar as ferramentas e laboratórios, não foi possível verificar devidamente a produção de Sinestesia.
ABSTRACT: This thesis project began in a prototyping laboratory in Naples, the author designed a laser cut lamp, whose concept was to show shapes through light rather than simply illuminate. The intuition to make it move according to sound came naturally, using light as a means of communication and music as the message to be visually translated. The resulting product brought the investigation to the following questions: why the combination of light and sound was apparently ‘captivating’ and why the choice to work on a tangible product and not digitally. The research phase began, shaping the state of the art of the dissertation. There, a series of indispensable sources on the biological and psychological implications of sound and light began to surface three fundamental concepts: Psychoacoustics, Synaesthesia and Graspable Objects. Observing the music landscape, the way artists present themselves presencially, on music platforms and social network, brings to the following reflection: our experience underlines the possibility to complete the auditory experience involving another sense: sight. Recognising the importance of Synaesthetic objects, a research was carried out tracing a chronology. The result was a collection of a series of figures involved in Colour Music, a discipline that progressed hand in hand with music from around 1590 to the present day. Having identified audio-visual synaesthesia as the basis and dealing with the design of the light, the target audience was identified as singers and musicians. Through the interviews the artists expressed difficulty in having something available for their performances to accompany the music and capture the mind of the spectators. Thanks to the artists, emerged elements for re-design. The result of this re-design are three different objects, for the expressed need to communicate the various frequencies of music, one for each prototype. Colours were also introduced, and new mechanical movements were introduced. Due to the current pandemic Covid-19 and the difficulty in finding the right tools and laboratories, it was not possible to properly verify the production of Synesthesia.
N/A
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Erlandsson, Niklas. "Experientiality and Sensorial Gesamtkunstwerk in William Faulkner’s The Sound and the Fury". Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-96247.
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This thesis examines the semiotic experiences in William Faulkner’s The Sound and the Fury from a reader perspective by analyzing in what ways sensorial gesamtkunstwerk is used to convey or evoke sensations that appeal to the reader on a cognitive level. Drawing from Marco Caracciolo’s theories on experientiality which operate under the assumption that an evoked feeling from a text is dependent on the reader’s familiarity with their emotions and senses, this thesis claims that the bridge between narratological (textual) experiences and the reader’s experiences in the novel is made possible through sensorial aesthetics that appeal to our sensory modalities and that operate in a gestalt fashion to form a sensorial gesamtkunstwerk. Upon closer analysis, the experientiality in The Sound and the Fury is not only evoked by sensory modalities operating as a sensorial gesamtkunstwerk that draws on the reader’s cognitive and sensorial familiarity as is suggested by Caracciolo, but the analysis also exposes a narratological gesamtkunstwerk that operates at an intratextual level and which is only manifested when the novel is examined holistically. Containing differently perceived semiotic experiences, collectively, the differently narrated sections complement one another in such a way that they, too, synthesize into a gesamtkunstwerk that is dependent upon each section to fully operate.
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Fowler, Richard. "Towards a Blueprint for a Music Centred Feature Film". Thesis, University of Sydney, 2020. https://hdl.handle.net/2123/23112.
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This research examines how insights drawn from the domain of film can provide provocation for creativity in the praxis of a musically inclined screenwriter-director. Through a research-based approach, a framework was sought to underpin the writing of a screenplay for a music-centred feature film. An extensive survey of films led to the fashioning of the Integrated Montage Interface - a digital tool for the process of script development. Nova emerged as an original screenplay, in which the exploration of narrative threads called for a more holistic praxis. Narrative directions were interrogated and refined to reflect the creative development within the discrete phases of filmmaking. Scaffolded by the unique perspective of the Integrated Montage Interface, a new multi-modal impetus was given voice within the work, engendering nuanced storytelling. Combinatory possibilities established a blueprint for a fully-fledged feature film production in emotional relief, where momentary tensions are mapped to multi-modal phrasing across audio, dialogue and visual strands. In purposed irony, the Nova-project’s protagonist mirrors the thesis - both being liberated by a fundamental reliance on synaesthesia found so readily in the cinematic experience and so crucially in Nova’s.
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Coelho, Luís Miguel Carvalhais Figueiredo Borges. "Alexander Scriabin: the definition of a new sound space in the crisis of tonality". Doctoral thesis, Universidade de Évora, 2016. http://hdl.handle.net/10174/19157.
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This dissertation describes the new compositional system introduced by Scriabin in 1909–
1910, focusing on Feuillet d’Album op. 58, Poème op. 59, nº1, Prélude op. 59, nº2 and Promethée op.
60. Based upon exhaustive pitch and formal analysis the present study (a) claims the inexistence of
non-functional pitches in all analysed works, (b) shows that transpositional procedures have structural
consequences on the “basic chord”, and (c) for the first time advances an explanation on the intrinsic
relation between the sonata form and the slow Luce line in Promethée op. 60; RESUMO:
Sob o título de “Alexander Scriabin: a definição dum novo espaço sonoro na crise da
Tonalidade”, a presente tese descreve o novo sistema compositivo introduzido por Scriabin em 1909–
1910, tomando como ponto de partida o estudo de Feuillet d’Album op. 58, Poème op. 59, nº1,
Prélude op. 59, nº2 e Promethée op. 60. Baseando-se numa análise exaustiva das alturas e da forma,
este estudo (a) conclui pela inexistência de alturas não funcionais em qualquer das obras analisadas,
(b) mostra que os procedimentos transpositivos têm consequências estruturais no “acorde básico”, e
(c) pela primeira vez explica a estrutura formal de Promethée op. 60 a partir da relação intrínseca entre
a sua forma sonata e a linha lenta de Luce.
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Hydén, Malin. "Den stygga trädgården : En sinnlig tolkningsansats med utgångspunkt i Helen Chadwicks Cacao och Bad Blooms". Thesis, Södertörn University College, The School of Culture and Communication, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-437.
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The purpose of this essay is to discuss what a sensual interpretation of art is and what it should include. The discussion is based on an attempt to do a sensual interpretation of the Greek-British artist Helen Chadwick’s Cacao and Wreaths to Pleasure. Chadwick was an artist working with well-known materials in new and unexpected ways. An interpretation of her works should include the fact that her art affect us on different levels, both intellectually and sensually. The history of art includes very few examples of interpretations engaging all senses. Therefore this essay is based on literature in adjacent disciplines like aesthetics, inter art studies and synaesthesia. The thesis of The bad garden is that an art experience includes interplay between senses. This interplay which creates additive sensations, a fact that is not taken into consideration in an interpretation based on only vision. The conclusion is that a sensual interpretation should be a merge of traditional disciplines and must be characterised by subjectivity, contextuality, and intersensuality.
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Filoseta, Roberto. "Making the act of music visible : theatrical considerations in music composition". Thesis, University of Hertfordshire, 2006. http://hdl.handle.net/2299/14324.
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This research investigates the music-theatre phenomenon for the purpose of: clarifying how that differs from more traditional forms of musical theatre, i.e., Opera and Broadway musical; discussing its aesthetic bases; explicating its modes of operation in relation to both music and theatre. The writing is structured in three main parts. The first concern of the discussion is to clarify the connection between music and performance. To that end, Part One starts by reflecting on the nature of music and how its perception has been changed by modern technology, throwing live performance into question. The notions of physicality, embodiment, and gesture are then invoked in order to re-position music firmly within the performing arts. Part Two then delves into music-theatre touching on issues of terminology, artistic scope, positioning, production, funding, structures, institutions. Part Three, finally, offers some conclusions and recommendations. The Thesis is then followed by a commentary to the portfolio of compositions accompanying this research. The musical scores and audio-visual material relative to the works therein discussed are included on 1 separately bound volume.
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Garnier, Marie-Margeride. "La synesthésie chez l'enfant : prévalence, aspects développementaux et cognitifs". Thesis, Toulouse 2, 2016. http://www.theses.fr/2016TOU20004/document.
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Les synesthètes ont la particularité d’associer une expérience supplémentaire (e.g. une couleur) lors de la présence de certains stimuli (e.g. une lettre). L’objectif de cette thèse était de mieux comprendre le développement de la synesthésie à travers trois types : Graphème-Couleur, Graphème-Personnalité et représentation des nombres dans l'espace (« Forme des nombres »). Si la synesthésie Graphème-Couleur a déjà été étudiée chez l’enfant, les deux autres n’ont jamais fait l’objet d’étude développementale auparavant.Les productions graphiques de 797 enfants de dernière année de maternelle et des deux premières années de primaire (CP et CE1) ont été recueillies (2 sessions, 2 à 3 semaines d’écart). Pour tester l’hypothèse d’un continuum entre les synesthètes et la population générale, nous avons aussi étudié les associations d’enfants non synesthètes.Nous avons mis en avant les difficultés méthodologiques de l’étude de la synesthésie chez les enfants entre 5 et 8 ans. Nos résultats ne nous permettent pas d’attester de façon certaine l’existence de la synesthésie dans cette tranche d’âge. Mais nous avons observé une augmentation du nombre de synesthètes potentiels par niveau scolaire, et un niveau de constance bas de leurs associations par rapport à ce qui est observé chez l’adulte. Comme les enfants connaissent bien les lettres et les nombres, du moins en CE1, on peut penser que ces synesthésies ne sont pas seulement liées à l’apprentissage de l’inducteur en tant que tel. Mais elles pourraient se développe en parallèle d’apprentissages complexes (e.g. calcul ou la rédaction), ou en suivant le développement de la mémoire et de l’imagerie mentaleSynaesthetes have the peculiarity of associating a supplementary experience (e.g. the colour green) when certain stimuli are presented (e.g. the letter F). The aim of this thesis was to better understand the development of synaesthesia through three types: Grapheme–Colour, Grapheme–Personality and the representation of numbers in space.We collected the graphical representations of 797 children from Kindergarten, 1st Grade, and 2nd Grade twice, at 2-3 weeks interval. To test the hypothesis of a continuum between synaesthetes and the general population, we also studied the associations of non-synaesthete children. We reported the methodological problems specific to the study of synaesthesia in 5 to 8 years old children. We could not definitely attest the existence of synaesthesia in this age group. But we observed a growing number of potential synaesthetes in each grade, as well as a low consistency level of their associations in comparison with adults. Since children know well letters and numbers, at least in the 2nd grade, we can consider that these types of synaesthesia are not only linked to the acquisition of their inducers themselves. But they could develop during harder acquisitions (numeracy or literacy) or with the development of mental imagery and associative memory
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ROSSETTI, ANGELA. "I know how you feel coding others' somatosensory experience in the observer 's somatosensory cortex". Doctoral thesis, Università degli Studi di Milano-Bicocca, 2014. http://hdl.handle.net/10281/81049.
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My doctoral thesis aims at exploring the role of the somatosensory cortices in the visual coding of others’ tactile experiences. Several studies posit the existence in the human brain of a system which match the somatosensory and visual experience of touch (for a review see, Keysers et al., 2010); in particular, the neural network involved in first-hand tactile stimulation is also responsible for understanding others’ somatic sensations.
Firstly, by using online high-frequency repetitive transcranial magnetic stimulation (rTMS) I assessed whether the first (SI) and the second (SII) somatosensory cortices play a functional role in the visual processing of tactile events (Experiment 1). Healthy participants performed a discrimination task of visual stimuli depicting touch (a finger touching a hand) and a control task, with the visual discrimination of movements, not comprising a tactile component (the movement of a finger). rTMS over SI selectively impairs subject’s ability to discriminate visual stimuli depicting a tactile event, suggesting that SI, a cortical area traditionally viewed as modality‐specific, is implicated in the visual processing of touch. Instead, SII is not involved in the visual discrimination of touch.
Then, I assessed whether the visual processing of touch in SI is specific for the view of human to human contact, or it applies to the sight of ‘any’ touch (Experiments 2 and 3). Using the same rTMS paradigm, I show that in healthy subjects interfering with SI activity specifically impairs the visual detection of the human touch, without affecting the visual perception of contact between objects, nor between human body‐parts and objects.
Experiment 4 investigated whether SI is also involved in understanding others' sensations conveyed by tactile events, and whether this mechanism shows hemispheric specialization. Healthy subjects underwent a picture‐based affective go/no‐go task while receiving offline low‐frequency rTMS to the right or left SI, or the right or left dorsolateral prefrontal cortex (DLPF); DLPF was chosen as active control site as it was shown to be involved in encoding the affective valance of emotional pictures (Bermpohl et al., 2005). Disruption of the right, but not left, SI activity by rTMS selectively reduces participants' performance, but only when the affective state is conveyed by touch; intriguingly, this interfering effect is associated with individual empathic ability to adopt others’ subjective perspective. Then, the same task was given to a group of brain-damaged patients, to determine if specific brain lesions were associated with impaired recognition of the emotional valance of a visually presented somatic experience (Experiment 5). The main finding is that lesions affecting the right hemisphere are associated with a poorer performance in the affective go/no-go task, regardless of the visual tactile component.
Finally, I explored the neural underpinnings of mirror-touch synaesthesia (Experiment 6). When subjects with mirror‐touch synaesthesia view a tactile stimulation on others they also feel the same somatic sensation on their own body, even in absence of a real touch (Blakemore et al., 2005). By using a facilitatory paired‐pulse transcranial magnetic stimulation (ppTMS) protocol, I show that mirror‐touch responses and synaesthesia‐like sensations can be induced even in non‐synaesthetes by increasing the excitability of SI, or by boosting its activity via ipsilateral posterior parietal cortex (PPC). Functionally connectivity between ipsilateral premotor cortex and SI is not involved in mirror-touch synaesthesia. Again, synaesthetic–like responses in non-synaesthetes are associated with different in emphatic abilities.
Overall, this series of studies demonstrates that: I) SI is causally involved in processing the sight of human‐to-human contacts (Experiments 1-3); II) besides being involved in low-level visual processing of touch, SI of the right hemisphere participates in higher-level functions related to the encoding the affective valance of others’ touch (Experiments 4,5); III) a right-hemisphere lesion may impair patient’s ability of understanding others’ somatosensation (Experiment 6); IV) the vicarious activation of SI by the sight of touch is associated to individual differences in affective and cognitive empathy (Experiments 4-6); V) synaesthesia‐like mirror‐touch sensations can be induced through the enhancement of SI activity, or by boosting its activity via PPC (Experiment 6).
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Yergeau, Melanie. "Disabling Composition: Toward a 21st-Century, Synaesthetic Theory of Writing". The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306418814.
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Marques, Sarah Barreto. "Sinestesia das pessoas cegas: novas possibilidades de informação". Instituto Brasileiro de Informação em Ciência e Tecnologia/Universidade Federal do Rio de Janeiro, 2016. http://ridi.ibict.br/handle/123456789/885.
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A sinestesia é uma condição na qual um estímulo a uma modalidade sensorial evoca uma sensação secundária não estimulada. Considerando que as pessoas com deficiência visual percebem o ambiente e obtem informações através de uma alta integração sensorial, mostra-se relevante investigar como a sinestesia pode formar parte dessa percepção. Este trabalho procura analisar como a sinestesia influencia o processo pelo qual as pessoas cegas obtem informações do ambiente e os efeitos que esta percepção pode exercer na realização de tarefas cotidianas e no aprendizado, considerando a realidade de uma sociedade na qual as informações visuais são privilegiadas. Realizou-se uma pesquisa de campo qualitativa com uma amostra de 14 pessoas cegas e um grupo de controle formado por 14 pessoas videntes. Verificou-se que as pessoas cegas tem mais tendência a apresentar manifestações sinestésicas que as pessoas videntes, e que utilizam esta condição para obter e manipular informações internamente, em tarefas como aprendizado e composição musical, cálculos mentais e redação; além disso, as sensações sinestésicas podem enriquecer a percepção do mundo, tornando-a ainda mais prazerosa.
Synaesthesia is a condition in which a stimulus of a sensory modality evokes a secondary sensation, not stimulated. Considering that visually impaired people perceive the environment and obtain information through a strong sensory integration, it is relevant to investigate how synaesthesia may take part of such perception. This work intends to analyse how synaesthesia influences the process by which blind people obtain information from environment and the effects this perception may produce on dayly tasks and learning, considering the reality of a society in which visual information are privileged. A qualitative field research was conducted with a sample of 14 blind people and a group of 14 sighted people as controls. It was verified that blind people are more likely to present synaesthetic manifestations and that they use this condition to obtain and manipulate information internally, in tasks such as learning and composing music, mind calculation and writing; besides, synaesthetic sensations may enrich the perception of environment, making it even more pleasureful.
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Knapton, Benjamin. "Activating simultaneity in performance : exploring Robert Lepage's working principles in the making of Gaijin". Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/16583/1/Benjamin_Knapton_Thesis.pdf.
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In this research I have explored the performance making process of world renowned director Robert Lepage. This exploration informed my own process, creating an original performance called GAIJIN, where my roles included producer / director / designer and co-writer. The practice-led research strategy employed in this research has allowed me to navigate the sometimes slippery slope of connecting various performance discourses with the pragmatics of the performance making process. The reason for this research is my strong interest in the director’s role and my affinity with the practice of Robert Lepage. My observation of the performance making process of Robert Lepage prompted the creation of a conceptual framework informed by Hans-Thies Lehmann’s work Postdramatic Theatre. These theoretical concerns were then further investigated in the creation of my own show. This research process has uncovered a performance making process that foregrounds the working principles of simultaneity and synaesthesia, which together offer a changed conception of the performance text in live performance. Simultaneity is a space of chaotic interaction where many resources are used to build a perpetually evolving performance text. Synaesthesia is the type of navigation required – an engagement consisting of interrelated sense-impressions that uniquely connect the performance makers with the abundance of content and stimulus; they search for poetic connections and harmonious movement between the resources. This engagement relies on intuitive playmaking where the artists must exhibit restraint and reserve to privilege the interaction of resources and observe the emerging performance. This process has the potential to create a performance that is built by referential layers of theatrical signifiers and impressions.
This research offers an insight into the practices of Robert Lepage as well as a lens through which to view other unique devising processes. It also offers a performance making language that is worthy of consideration by all performance makers, from directors to performers. The significance of this process is its inherent qualities of innovation produced by all manner of art forms and resources interacting in a unique performance making space.
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Knapton, Benjamin. "Activating simultaneity in performance : exploring Robert Lepage's working principles in the making of Gaijin". Queensland University of Technology, 2008. http://eprints.qut.edu.au/16583/.
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In this research I have explored the performance making process of world renowned director Robert Lepage. This exploration informed my own process, creating an original performance called GAIJIN, where my roles included producer / director / designer and co-writer. The practice-led research strategy employed in this research has allowed me to navigate the sometimes slippery slope of connecting various performance discourses with the pragmatics of the performance making process. The reason for this research is my strong interest in the director’s role and my affinity with the practice of Robert Lepage. My observation of the performance making process of Robert Lepage prompted the creation of a conceptual framework informed by Hans-Thies Lehmann’s work Postdramatic Theatre. These theoretical concerns were then further investigated in the creation of my own show. This research process has uncovered a performance making process that foregrounds the working principles of simultaneity and synaesthesia, which together offer a changed conception of the performance text in live performance. Simultaneity is a space of chaotic interaction where many resources are used to build a perpetually evolving performance text. Synaesthesia is the type of navigation required – an engagement consisting of interrelated sense-impressions that uniquely connect the performance makers with the abundance of content and stimulus; they search for poetic connections and harmonious movement between the resources. This engagement relies on intuitive playmaking where the artists must exhibit restraint and reserve to privilege the interaction of resources and observe the emerging performance. This process has the potential to create a performance that is built by referential layers of theatrical signifiers and impressions.
This research offers an insight into the practices of Robert Lepage as well as a lens through which to view other unique devising processes. It also offers a performance making language that is worthy of consideration by all performance makers, from directors to performers. The significance of this process is its inherent qualities of innovation produced by all manner of art forms and resources interacting in a unique performance making space.
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Connor, Andrew John Caldwell. "The audiovisual object". Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/26047.
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The ʻaudiovisual objectʼ is a fusion of sound object and visual object to create an identifiable perceptual phenomenon, which can be treated as a ʻbuilding blockʼ in the creation of audiovisual work based primarily on electroacoustic composition practice and techniques. This thesis explores how the audiovisual object can be defined and identified in existing works, and offers an examination of how it can be used as a compositional tool. The historical development of the form and the effect of the performance venue on audience immersion is also explored. The audiovisual object concept builds upon theories of electroacoustic composition and film sound design. The audiovisual object is defined in relation to existing concepts of the sound object and visual object, while synaesthesia and cross-modal perception are examined to show how the relationship between sound and vision in the audiovisual object can be strengthened. Electroacoustic composition and animation both developed through technological advances, either the manipulation of recorded sounds, or the manipulation of drawn/photographed objects. The key stages in development of techniques and theories in both disciplines are examined and compared against each other, highlighting correlations and contrasts. The physical space where the audiovisual composition is performed also has a bearing on how the work is perceived and received. Current standard performance spaces include acousmatic concert systems, which emphasize the audio aspect over the visual, and the cinema, which focuses on the visual. Spaces which afford a much higher level of envelopment in the work include hemispheric projection, while individual experience through virtual reality systems could become a key platform. The key elements of the audiovisual object, interaction between objects and their successful use in audiovisual compositions are also investigated in a series of case studies. Specific audiovisual works are examined to highlight techniques to create successful audiovisual objects and interactions. As this research degree is in creative practice, a portfolio of 4 composed works is also included, with production notes explaining the inspiration behind and symbolism within each work, along with the practical techniques employed in their creation. The basis for each work is a short electroacoustic composition which has then been developed with abstract 3D CGI animation into an audiovisual composition, demonstrating the development of my own practice as well as exploring the concept of the audiovisual object. The concept of the audiovisual object draws together existing theories concerning the sound object, visual perception, and phenomenology. The concept, the associated investigation of how audiovisual compositions have evolved over time, and the analysis and critique of case studies based on this central concept contribute both theory and creative practice principles to this form of artistic creativity. This thesis forms a basis for approaching the creative process both as a creator and critic, and opens up a research pathway for further investigation.
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Dickinson, Kay. "Music video and synaesthetic possibility". Thesis, University of Sussex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310663.
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Axelsson, Samuel. "Måla med musik, komponera med färg : En retrospektiv studie av den kreativa processen, bland bild, musik och synestesi". Thesis, Örebro universitet, Musikhögskolan, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-22342.
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The relationship between color and music, and their relation to the human being and our surrounding universe has been subject of studies, theories and experiments since the old ages. From the ancient China and Persia to the present times, philosophers, scientists and artists have tried to explain these connections between color and music and also tried to find answers to this ancient enigma. The invention of the color organ c. 1730, an instrument that was intended to display color in addition to the musical auditive experience, was the first attempt to materialize the practical correlation between notes and color. This correlation has its foundation in the ideas of Isaac Newton, who through his book Optics published only a few years earlier, conformed the beginning of a new art culture: “Visual music”, in which image and sound are the fundamental elements in the creative process. The “visual music” concept is not only grounded in the ideas of music and sound, but also in the extraordinary creative capability of certain individuals. In short, those blessed with the gift of synaesthesia, a condition that provides a very small percentage of our population with very unique abilities like seeing color when hearing sound. Synaesthesia, a term that has been surrounded by scepticism and disbelief until the middle of the 19th century, will be the ingredient that would open for a complete new world of creative experiences, and became one of the main subjects of investigation and creation for many modern artists like Kandinsky and Klee, poets like Baudelaire, and composers like Skrjabin, Schoenberg or Wagner. In this essay, I’ll create three different studies in which image and sound will be combined to conform unique works. And based on my own synesthetic experience, I will approach my own creative process with the intention of analyzing it and explain how this correlation of image and sound works from my own and subjective artistic perspective.
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Jonas, Clare. "Effects of synaesthetic colour and space on cognition". Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/7596/.
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A small proportion of the population experiences synaesthesia, in which a stimulus (the inducer) causes a percept (the concurrent) in its own sensory domain, and in another domain, or another sub-domain of the same sense. This thesis is concerned with synaesthesiae in which numbers and letters take on spatial locations or colours. In Paper 1, alphabet-form synaesthesia is investigated. The majority of alphabet forms belonging to native English speakers are straight, horizontal lines. Any breaks, gaps or direction changes tend to fall in line with the parsing of the Alphabet Song. Synaesthetes show greater inducer-concurrent consistency than controls; their spatial attention can also be cued by letters. In Paper 2, synaesthetes with alphabet forms and number forms took part in case or parity judgement tasks. Synaesthetes behave similarly to controls on the parity judgement tasks (i.e. both groups categorise small numbers more quickly with the left hand than the right hand). In the case judgement task neither group shows an equivalent effect for letters of the alphabet. Controls alone show a QWERTY effect, in which letters on the left of the keyboard are categorised more quickly with the left hand than the right hand. A large-scale study of letter-colour and number-colour synaesthesia in Paper 3 shows that correlations between letter frequency and saturation, alphabetical position and saturation, magnitude and luminance, magnitude and saturation are seen when luminance and saturation are considered as across-hue and within-hue variables. Papers 4 and 5 are concerned with synaesthetic bidirectionality, wherein concurrents can elicit implicit mental representations of their inducers. While no experiment in these papers shows evidence for bidirectionality, this may be due to the presentation of concurrent colours as graphemes instead of colour blocks. However, priming effects appear during a synaesthetic Stroop task when numbers are presented as digits, suggesting a stronger role for digits than other notations in number-colour synaesthesia.
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Buxton, Ian. "Use of synaesthesias and informal consumer communities in empowering wine consumers". Master's thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/16398.
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Includes bibliographical references.A three phase investigation into the utility of wine consumer opinion as a viable source of information to wine consumers in South Africa. The research demonstrates that existing marketing and expert opinion is inappropriately constructed, using paradigms that are overly simplistic or language that is not valued by consumers. The paper further investigates the use of visual representations of wine to communicate the "tasting notes" of consumers, providing a first access trigger which can be quickly and accurately interpreted into an assessable taste for the wine. Lastly it examines the benefits of using consumers to provide narrative reviews of the wine, in whatever terms they choose, to represent the consumption experience of the wine.
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Guégo, Rivalan Inès. "Les enjeux du renouveau du théâtre espagnol, forces et pouvoirs des synesthésies (1916-1934)". Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100038.
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Au tournant du XXème siècle en Espagne, une réaction au naturalisme se fait jour dans un panorama théâtral dégradé. Dans ce contexte de crise des langages artistiques, une série de propositions dramaturgiques voit le jour à partir de 1916. Les œuvres retenues sont envisagées pour en dégager l’énergie plastique dans ses dimensions tant textuelles (littéraire, dramatique et dramaturgique) que scéniques, lorsque les œuvres ont été représentées à l’époque. Phénomène majeur de renouveau du théâtre entre 1916 et 1934, les synesthésies sont étudiées au croisement de l’émergence d’un théâtre du corps (cantonné jusqu’alors aux genres assimilés à la pantomime et à la revue), et de la naissance des grandes compagnies de danse, au moment de l’apogée de l’âge d’argent. Cette délimitation chronologique des textes choisis caractérise un intervalle temporel signifiant au regard de l’histoire culturelle et des problématiques esthétiques. La période correspond à l’arrivée des Ballets Russes à Madrid et s’étend jusqu’à la fondation et la dissolution de la Compañía de Bailes españoles par Encarnación López La Argentinita et F. García Lorca en 1933-1934. La thèse analyse les formes et les implications des synesthésies, procédés d’expression plastiques et rythmiques. Après la mise en évidence d’un contexte scientifique et artistique propice à l’avènement d’un théâtre synesthésique, le travail étudie les réponses apportées par des dramaturges (R. Alberti, M. Aub, J. Bergamín, T. Borrás, F. García Lorca, R. Gómez de la Serna, M. Hernández, G. Martínez Sierra, R. del Valle-Inclán) qui ont tiré parti des synesthésies pour semer dans leurs textes dramatiques les éléments d’une possible rénovation du théâtre espagnol de leur tempsA reaction against naturalism developed in Spanish drama at the turn of the 20th century against a backdrop of an impoverished national scene. In a context of crisis in artistic expression and codes, a number of responses came out from 1916 on. This doctoral thesis considers the dramatic works in the corpus to characterize their plastic energy in its various dimensions, textual — literary, dramatic and dramaturgic — as well as scenographic — when the plays were actually staged at the time. A major phenomenon in the revival of Spanish drama between 1916 and 1934, synaesthesias are studied in relation to the emergence of physical theatre and corporeal mime — then mostly confined to genres categorized as pantomime or cabaret — and the birth of major dance companies in the heyday of the Silver Age. The choice of such a chronological span for the texts selected identifies a relevant time frame in matters of cultural history and aesthetics as it coincides with the arrival of the Ballets Russes in Madrid and runs until the foundation and dissolution of the Compañía de Bailes españoles by Encarnación López La Argentinita and Federico García Lorca in 1933-1934. This thesis analyses the forms and significance of synesthesias as artistic and rhythmic modes of expression. After highlighting a scientific and artistic background propitious for the emergence of synesthetic drama, it examines the achievements of playwrights R. Alberti, M. Aub, J. Bergamín, T. Borrás, F. García Lorca, R. Gómez de la Serna, M. Hernández, G. Martínez Sierra and R. del Valle-Inclán who made use of synaesthesias to work in their texts elements that would energize a revival of Spanish drama
En el periodo de entresiglos (XIX-XX), en un panorama teatral degradado, surge en España una reacción contra el naturalismo. En un contexto de crisis de los lenguajes artísticos, despunta una serie de propuestas dramatúrgicas. Las obras de teatro seleccionadas se examinan intentando extraer de ellas la energía plástica en sus dimensiones tanto textuales como escénicas, en el caso de las obras puestas en escena en la época. Fenómeno mayor de renovación del teatro del primer tercio del siglo XX, las sinestesias se estudian en un conjunto de obras comprendido entre 1916 y 1934, en el cruce de la emergencia de un teatro del cuerpo, confinado hasta entonces a los géneros asimilados a la pantomima y a la revista, y del nacimiento de las grandes compañías de danza, en pleno apogeo de la Edad de Plata. Dicha delimitación cronológica de los textos escogidos caracteriza un intervalo temporal significativo desde el punto de vista de la historia cultural y de las problemáticas estéticas. El periodo coincide con la llegada de los Ballets Rusos a Madrid y se extiende hasta la fundación y disolución de la Compañía de Bailes españoles por Encarnación López La Argentinita y F. García Lorca en 1933-1934. La tesis analiza las formas e implicaciones de las sinestesias, recursos de expresión plásticos y rítmicos. Tras poner de relieve un contexto científico y artístico propicio para la emergencia de un teatro sinestésico, el trabajo consiste en estudiar las respuestas que propusieron los dramaturgos (R. Alberti, M. Aub, J. Bergamín, T. Borrás, F. García Lorca, R. Gómez de la Serna, M. Hernández, G. Martínez Sierra, R. del Valle-Inclán), que sacaron partido de las sinestesias para sembrar en sus textos dramáticos los elementos de una posible renovación del teatro español de su tiempo
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Gerstley, Lawrence D. "Cross-modal and synaesthetic perception in music and vision". Thesis, University of Stirling, 1997. http://hdl.handle.net/1893/2223.
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This thesis is concerned with the cross-modal and synaesthetic perception of musical and visual stimuli. Each of these types of perception has been researched separately, and a hypothesis is presented here that accounts for both cross-modal matching and the development of synaesthesia. This hypothesis claims that sensory information can be evaluated in another modality by using a scale of comparison in that modality. The first set of experiments examines normal subjects performing cross-modal matching with coloured circles and auditory stimuli that vary in complexity. It is shown that subjects use a variety of scales of comparison from both visual and auditory modalities to form matches. As the stimuli increase in complexity, the individual variation in cross-modal matching also increases. The second set of experiments examines matching performance using higher order stimuli, by having subjects evaluate fragments of melodies and complete melodies on affective and descriptive adjective scales. Melodies were also matched with landscape scenes to examine if subjects could form matches between two highly complex sets of stimuli. The final experiments examine synaesthetic associations with colour, evoked from music, letters, numbers, and other categorical information. Common features of synaesthesia from a population of synaesthetes are identified, and experiments performed to test the interference of the synaesthetic associations. Additional experiments are presented that explore the superior short-term memory of one synaesthete, and the role of his associations as a mnemonic device.
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Östlund, Anton, Viktor Eidhagen i Marcus Nilsson. "Synaesthetica : Relationen mellan ljud, bild och kropp genom Kinesonisk interaktion". Thesis, Blekinge Tekniska Högskola, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-18321.
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Under flera generationer har människan försökt tolka relationen mellan bild och ljud. Finns det en vetenskaplig koppling mellan ljusets frekvens och ljudets frekvens? Kan man uppleva båda modaliteter samtidigt? En liten procent av jordens befolkning kan uppleva denna symbios av modaliteter, en sinnenas union där hjärnan korskopplar två eller flera sinnen, denna funktionsvariation kallas för synestesi. Den digitala utvecklingen har möjliggjort denna korskoppling där man med nummer som material kan gestalta synestesi och skapa och uppleva flera modaliteter i symbios. Detta kandidatarbete syftar på att med hjälp av kinesonisk interaktion undersöka relationen mellan kropp, bild och ljud, hur man med kroppen som verktyg kan sammanväva och skapa bild och ljud samtidigt på ett naturligt och organiskt sätt. Genom etnografiska observationer, fokusgrupper och frågeformulär har vi undersökt olika funktioner som kan bidra till känslan av att ljudet känns naturligt till kroppsliga rörelser och visuell stimuli. Genom agentiell realism har vi sedan förankrat vår kunskap och de beslut vi tagit som designers för att presentera det ramverk vi föreslår för att skapa en multimodal upplevelse där kropp, ljud och bild möts.For generations humans have strived to interpret the relationships between picture and sound. Is there a scientific connection between the lightwave-spectrum and the sound-frequency domain? Is it possible to experience both modalities at once? A fraction of the population can experience a symbiosis of these modalities, a union of the senses where the brain cross connects two or more, seemingly unrelated senses. This variation of sensory function is known as synesthesia. The rapid development in digital media has enabled this cross connection through numbers, creating a form of art where sound triggers or generates visual elements or vice versa. This bachelor thesis is aimed towards examining the relationship between picture, sound, bodily interaction and how we can weave these modalities together to create visual and sonic elements in real time in a natural and organic fashion through the concept of kinesonic interaction. We have through ethnographic observation, focus groups and questionnaires examined various functions which contributes to the sensation of embodied sound, retaining a natural feeling towards the body movements and visual cues. We’ve anchored our research, knowledge and decisions as designers in agential realism to present a framework which we suggest creates an intertwining multimodal experience where body, sound and picture meet.
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Erlandsson, Niklas. "ANIMAL QUALIA AND NON-ANTHROPOCENTRIC NARRATION IN BARBARA GOWDY’S THE WHITE BONE : PROBLEMATIZING NONHUMAN EXPERIENTIALITY THROUGH ENVISIONMENTS IN THE EFL CLASSROOM". Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-104002.
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This thesis examines nonhuman phenomenological experiences, communication, and sensory perception in Barbara Gowdy’s The White Bone. Drawing on literary and pedagogical theories by Roman Bartosch, Monika Fludernik, Marco Caracciolo, David Herman, and Judith Langer, the thesis argues that Gowdy’s novel employs narrative strategies and devices that involve nonhuman experientiality evoked from sensorial configurations, narration, and textual cognitive and embodied experiences. These represented experiences disrupt human primacy by establishing a disorientation that challenges the anthropocentric bias in the novel and decenters the human reader. Moreover, the thesis offers suggestions for using the novel in conjunction with envisionment building to discuss animal alterity and anthropocentrism in the Swedish EFL classroom.
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Hernandez, Jesse. "Senses In Synthesis: Imaginative Sensing In The 19th Century". VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/621.
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During the late 19th century, arts and literature had a surge of sensory awareness, made manifest through sensory analogy, intersensory metaphor, and synaesthesia. This dissertation explores this phenomenon through a study of five poets and artists: Charles Baudelaire, Arthur Rimbaud, Dante Gabriel Rossetti, John Barlas, and Julia Margaret Cameron. Using imaginative sensing, these artists transformed the relationship between artist and observer, assigning greater responsibility to their audience while simultaneously asserting artistic control of their work. Their fascination with sensory mixing and multisensory awareness demonstrates unique ideas about perception and embodiment, ideas that have sparked both controversy and imitation. I begin with a brief history of the condition known as synaesthesia, considering its position as an “abnormal” clinical condition, a desired artistic state of transcendence, and a simple transfer of metaphor. Chapter 1 describes how two French poems brought synaesthesia to public consciousness and prompted a literary movement. In Chapter 2, I explore how poet-painter Dante Rossetti used “acts of attention” and unheard music to demand viewers’ embodied participation. Chapter 3 introduces John Barlas, a relatively obscure British poet who crafted exotic, sensory-laden environments that hovered between the actual and imagined, insisting that the reader use his sensory imagination to participate. Moving to the realm of photography in Chapter 4, I consider Julia Margaret Cameron, whose “out-of-focus” pictures changed photography from a mechanistic technology to high art by incorporating the sense of touch. Historically, the senses have been ranked and separated, with priority given to vision, the sense most associated with reason. I argue that considering the senses as bundles of interconnected experiences and through imagination rather than as isolated methods of physical perception can show how the senses function culturally and give us a much greater understanding of how we process the world. While no time period has regarded the senses with the intensity of the late 19th century, the embodied approach of the era can be applied to our current “sensory revolution” and can impact how we regard technology, cultural studies, and interdisciplinarity. Evaluating how 19th century artists blended the senses through imaginative constructs gives a more thorough explanation of the characteristic sensuality of the period and provides a model for how sensing can function more fully in current endeavors.