I will examine the processes and outcomes of synesthesia in two-dimensional art. I ask what might be different about synesthetic artists who can incorporate their perceptions from additional sensory experiences into their work. In particular, I will focus on visual synesthesia triggered from colors, shapes, and movement, and explore how movement has been represented in 2D. I will look at a number of synesthetic artists to examine the impact of these experiences on their art. I will look at what is known about synesthetic consciousness and illustrate constant themes or forms that emerge. I also ask how synesthetic and non-synesthetic art might differ and present several case studies of work produced by synesthetic artists. The expectations of the ‘art world' can have a great impact on synesthetic artists and I will explore how these expectations may be changing. 

Jun 08, 22:35 GMT

39 Bond Street 2N New York 10012 United States

What does music mean to us? It is not just a sound wave, it is strongly links to  our emotion with synaesthesia in vision, touch, smell and taste, which is called  “synaesthesia of synthetic senses”, thus, generating a kind of “vision environment”. This is the process of “music visualization in Art”.Similarly, visual art is not a pure object displayed in plane or space. It is a combination of synaesthesia of synthetic senses and emotion, which generates a kind of “inner music”- tempo rhythm, melody, timbre tonality, dynamics, musical texture, etc. This is the process of “visual art in ‘inner music'”. 

In order to better integrate all the synaesthetic characterstics, and to illustrate the process of music visualization in art or the process of visual art in “inner music”, we propose a “music synaestheisa fishbone graph” or “visual art synaesthesia fishbone graph” to record exactly the synaesthesia impression and status. For example, in the “music synaestheisa fishbone graph”, the horizontal axis refers to the process of music, while the vertical axis refers to the simultaneous response of all synaesthesia feelings: emotion, brightness/richness, cold/hot, color, motion speed, shape in space, line and flow, touch/texture, smell and taste. 

In this paper, extensive case studies have been made. For example, 24 oil paintings 
were created based on the music of Chopin's 24 Preludes. In the same way, a 
Chinese Gin music “Xiao Xiang Water Clouds” (composed by GUO Chuwang around 
1276) inspired the author to produce his visual work as well.On the other hand, Van Gogh's painting as well as Zhang Xuan's painting (“Making Cloth” around 740 A.D.) often generate a kind of “inner music” through synaesthesia of synthestic senses. Hereby, visual art is not just limited to painting. It refers to any art works for “visual environment”, such as architecture in a closed space or open space as garden. The process of visual art in “inner music" can best explain how “visual environment inspired Debussy to create his music. 

“Synaesthesia of Synthetic senses fishbone graph” is recommended as a model not only to help artists to collect the idea for art creation, but also to support scholars to analyze individual's different response after listening to the same pieces of music or seening the same painting, in order to better understand the mechanism of human synaetheisa and condition. This approach is in line with the Chinese traditional aesthetics philosophy –human emotion is affected by the change in nature environment through vision, sound, touch, smell and taste.

Jun 10, 15:56 GMT

Room 214, Building 8, Zone 1, Zhongcanyuan 58 An Li Lu, Chao Yang District Beijing, China 100027 China

The city of Kazan is located 500 miles east of Moscow. As a part of the Technical University, since 1962, a research institute named Prometheus exists (the name is taken from Scriabin's composition of the same name for music and light), in which, under the umbrella term synesthesia, the inter-relations between the arts are investigated. Previously, more than 20 scientists and engineers worked there under the direction of Bulat Galeyev. He coined the institute and distinguished two types of synesthesia: the first is what is normally named genuine synesthesia, the second is connected with intersensory associations and metaphorical thinking. Galeyev was only interested in the latter: “That type of synesthesia relates to art, artists and musicians. In this sense, practically all people are synesthetes” (Galeyev). Under his guidance, synesthesia in music, visual arts, literature, film, architecture and pedagogy was investigated. His own output as a scientist encompasses more than 500 articles and more than 30 books as an author or editor. Up to today, 17 conferences were conducted at the Prometheus institute – the longest series of synesthesia conferences worldwide –, each devoted to a special topic and each with a published conference proceedings. With Galeyev's death in 2009 and the death of his wife Irina Vanechkina in 2013, the activities of the institute have distinctly decreased, so that we can speak of a closed period of the institute and should start to clear its enormous output of publications, technical devices and artworks. 
Outside of Russia, little is known about this institute. Not more than a first interim report, the lecturers give a short overview of its multifaceted activities. 

Jun 11, 19:23 GMT

Breite Gasse 1 Muenster 48143 Germany

The Downwind installation combines art, engineering and science research and is composed of twenty pods that sense human presence and respond by breathing smells on the audience. 
Downwind explores our differences in olfactory sensitivity and selectivity due to the genetic basis of human olfactory variability and the perception of odiferous sequences in changed contexts. 
Not only are synthetic olfactory molecules changing perception of the world, but technologies are changing perception. Is a visceral comprehension possible in a sanitised and deodorised olfactory environment suffused with new synthetic olfactory molecular architectures for smell and taste? Whether natural, synthetic or engineered, they are the olfactory cyphers of change, yet sensing them is defined by a combination of genetics and personal experiences. To increase our ability to perceive the information of new chemical signals not just with the nose but with the gut it may be necessary to retrain one's olfactory observation and to note the feelings and emotions that arise from olfactory materials. At first the phenomena of smell may seem insignificant but humans are bound up in the transpiration and consumption/absorption of olfactory particles. 

The smell compounds are ones known to elicit specific anosmias ( loss of sense of smell) for some, and not for others. The revolutionary wind of genetic discovery suggests that we may not all be perceiving the same reality.

Jun 12, 11:01 GMT

62 Burnley Terrace Sandringham 1025 New Zealand

¿CÓMO SUENA EL CÍRCULO? 
LA INTERPRETACIÓN MUSICAL DE PARTITURAS GRÁFICAS CIRCULARES 

Resumen (Castellano) 

Las partituras gráficas son un tipo de partituras musicales donde los sonidos se plasman a través de elementos del lenguaje visual. En ellas, el sonido se hace visible, creándose sinestesias entre elementos visuales y sonoros. Entre las formas y símbolos presentes en la notación gráfica desde su origen a mediados del siglo XX hasta nuestros días, el círculo ocupa un lugar destacado, siendo múltiples los ejemplos de partituras gráficas circulares. 

La presente comunicación pretende dar respuesta a la pregunta –sinestésica – de “cómo suena el círculo”. A partir del estudio de las partituras gráficas circulares más relevantes de las últimas décadas, se presenta una muestra de las diferentes posibilidades de interpretación musical y sonora de la forma circular y se reflexiona sobre ciertos aspectos circulares y espaciales de la música. 

Abstract (English) 

Graphic scores are a type of musical writing where sounds are represented by elements of visual language. In graphic scores sound becomes visible, creating synesthesia between visual and sound elements. Among the different forms and symbols which are present in graphic notation since the mid-20th century to the present day, the circle is one of the most prominent, and we find multiple examples of circular graphic scores. 

This communication seeks to respond to the synesthetic question: "how does the circle sound?". It studies some of the most relevant circular graphic scores of the recent decades, and presents a sample of the different possibilities of musical interpretation of the circular form. It considers also certain circular and spatial aspects of music. 

CV (Castellano) 

Marina Buj Corral es Licenciada en Bellas Artes y Profesora Superior de Flauta. Actualmente, está acabando su tesis de doctorado en la Facultad de Bellas Artes de la Universidad de Barcelona. Su investigación y creación artística se centra en las analogías y correspondencias entre artes visuales y música, en concreto, en las formas gráficas de escritura del sonido y el fenómeno de la notación gráfica. 

CV 

Marina Buj Corral has a Master's Degree in Fine Arts and a Master's Degree in Flute Performance. She is currently finishing his doctoral thesis at the Faculty of Fine Arts at the University of Barcelona. Her artistic research and creation focuses on the analogies between visual arts and music, specifically in the graphic forms of writing sound and in graphic notation. 

Jun 12, 14:30 GMT

En el ámbito artístico es habitual utilizar el color como una forma de lenguaje visual independiente, como un elemento plástico con significado propio. En el caso de la animación, el color también puede llegar a resultar un elemento fundamental por sus efectos emotivos y su simbología intencionada. En este trabajo se muestra cómo el particular modelo de la animación japonesa, conocida generalmente como anime, utiliza la dinámica del color no sólo de modelador de la figura, o de complemento narrativo de la propia animación, sino que junto a otros recursos gráficos, como las características “líneas gloom”, es usado para evocar en el espectador diferentes conceptos, o percepciones y que en neurofisiología recibe el nombre de ideastesia. 



In the art world it is common to use color as a form of visual language and as a plastic element with its own meaning. In the case of animation, color may also turn out to be an essential element for its emotional impact and intentional symbolism. This paper shows how the particular model of Japanese animation, known as anime, uses dynamic color not only of shaper figure or narrative supplement to the animation itself, but together with other graphic resources, such as character "lines gloom", is used to produce what in neurophysiology called ideasthesia: the ability to evoke in the viewer different concepts, or perceptions. 

May 05, 18:29 GMT

This project looks at a selection of works by artists Marina Abramovic, Laval-Jeantet and Carina Úbeda, who attempt to establish a connection between Art and Life by using blood as a main element. In the earliest forms of prehistoric art, blood was used as pictorial and symbolic material on body rituals and stones. Blood is still today a physical and conceptual element found in the realization and the presentation of the works chosen for this analysis, which examines the synaesthetic relations at a perceptive level present in the works of the above-mentioned artists. 

Desde las primeras manifestaciones artísticas prehistóricas podemos observar como la sangre ha sido utilizada como material pictórico sobre protuberancias pétreas y a nivel simbólico en representaciones rituales y corporales. Desde un punto de vista contemporáneo la sangre sigue siendo un elemento físico y conceptual en la ejecución y presentación de algunas de las piezas seleccionadas, realizadas por artistas como Marina Abramovic, Laval-Jeantet o Carina Ubeda, quienes tratan de establecer una conexión entre arte y vida, siendo la sangre el elemento principal. En este caso analizaremos algunas de sus obras intentando ver la relación sinestésica que puede producir la percepción de estas piezas. 

Oct 27, 18:09 GMT

01. Art and Synesthesia

Art, Synaesthesia, Blood, Red, Connection, Life, Death, Body

This study focuses on the artist of scene corporal preparation through improvisation exercises. So, the pre-expressive basis of the interpreter work is taken as the analysis focus, and synesthesia studies are likewise considered as part of this action. Improvisation is recognized as an important element in the scene arts. To improvise is create, play, risk, transform an idea into a privileged place for the poetic and symbolic conceptions. In the rehearsal room space, this sets off learning processes that contribute to the formation of creators-interpreter more autonomous, mediated by intuition and artistic references. In general, the impromptu are effected by instinctive expression and thus, the corporal historic is revealed on artistic propositions. Indeed, corporal experiences in the ambit artistic or social of each interpreter are one body, your body – so, it is essential to evaluate the movement constantly to develop a corporal awareness. The developed research resorted to the pratice-theoric association, this experience based mainly on the following authors: Antonio Damasio, Eugenio Barba, Christine Greiner and Marica Strazzacappa. The body which presents itself as scenic and actions from this presence emerge of the sensory perception and are intrinsically associated with corporal awareness. And for the continuos development of this presense state and ability to improvise is recurrent the need for constant observation the body's own. When talking about the body listens, not only are the ears, either the eyes are summoned, but all the senses together. Has been found that to become aware of itself, is necessary to support the interpreter intuition, and be aware of all the information brought by the senses. The received stimulus in the surrounding space influences corporal state, results of the functioning of sensory systems, even if such interference is narrowly perceived consciously. The relationship established an impromptu game requires a better understanding about the processes of interpreting sensory information.

Time: Nov 17, 17:33 GMT

01. Art and Synesthesia