tríptico de promoción/programa general (próximamente)
Actividades Paralelas
Exposiciones:
"Synesthesia and
Visual Arts"- El reto Físico en lo digital". Exhibition 2022. Comisariado:Timothy B Layden; coordinadores: Federico Barquero Mesa; PPH, Sebastian Rosales, Michael Havercamp; Christine Soffing . En Convento de Capuchinos. Calle del Obispo Ceballos, 1. 23680. Alcalá la Real, Jaén, Spain- Inauguración 29 de Octubre de 2022, 18h
Svetlana Rudenko piano Concierto de piano en Teatro Martínez Montañés. Alcalá la Real, Jaén. a las 20h
CALL AND THE PARTECIPATION FORM!
deadline 15th May 2022
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Where can I find accomodation?/¿Cómo puedo encontrar alojamiento?
En Granada: Abades Nevada Palace y Abades Recogidas .5% Discount on the best price on our website as a special treatment. Every congressman make and pay your reservation online.
Taxistas Alcalá la Real .Contacto: ANTONIO ARANDA.
Telf: 0034 659555908
e-mail: arandarue@yahoo.es
Resúmenes recibidos/abtracts received
Synaesthesia: A Personal 20-year Scientific Perspective
Abstract: In the early Spring of 2002 I was introduced to my first academic case of synaesthesia, an unusual condition that gives rise to a 'merging of the senses'. Since that day, I've spent the last two decades embedded in the science of synaesthesia, having written around a hundred science articles, almost three quarters of which directly investigate this remarkable and enlightening condition. In my talk I will cover key findings from my lab over these last 20 years, highlighting the range, depth, history, psychology and neuroscience of synaesthesia, in a talk aimed not at scientists, but simply anybody with a keen interest in the mind and brain of synaesthetes. My work has shown how synaesthesia manifests in adults, and how it develops in children, how to test for it, and how to recognise it in even unusual places. I've tested thousands of people with synaesthesia, including those who knew it, and those who did not. And I've tested adults, children, and even domestic dogs... all showing either synaesthesia itself, or synaesthesia-like properties in how they come to unite their senses. I'll summarise this science in my talk, to provide a fascinating insight into the world of the synaesthete.
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Prof. Julia Simner
School of Psychology
Pevensey Building
University of Sussex,
Brighton, BN1 9QH
Los Trazos de la Música/ The strokes of music.
Dr. Reynaldo Fernández Manzano, Centro de Documentación Musical de Andalucía y es profesor de la Universidad Internacional de Andalucía. Spain
"Música y artes plásticas han estado íntimamente relacionadas a lo largo de la historia. La música, los instrumentos musicales, el canto, la danza, los conciertos, las veladas musicales, las fiestas en donde el arte de los sonidos está presente, han inspirado a dibujantes, pintores y escultores, creando una rica iconografía musical. Por otra parte, la música escénica, ballet, opera. zarzuela, etc., han necesitado de artistas de la rama de las bellas artes para diseñar vestuarios, escenarios o telones de fondo. Cualquiera de estos campos daría para muchas conferencia y disponemos de excelentes estudios.
Sin embargo hoy quiero centrarme en aspectos mas estructurales, en aquellos que los trazos de la música han colaborado a su desarrollo, transmisión y pervivencia. En primer lugar los trazos de música que permitieron su escritura. El diseño y organización de los manuscritos y códices que contenía estas grafías. La imagen espacial de su codificación en la música mecánica, y finalmente la experimentación para medir la música y por consiguiente transferir los sonidos a una «escala visual» como diría Rudolf Carnap, primero en parámetros de longitud de una cuerda, para pasar a visualizar las ondas sonoras desarrollando de la acústica y la fonografía, hasta las actuales tecnologías de transmisión de ondas electromagnéticas investigadas por Maxwell. Trazos de la representación visual de la música como pervivencia en la escritura y como elemento fundamental en la ciencia de los sonidos y en su difusión".
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Presentación de la Plataforma QUANTUM BABYLON/ Presentation QUANTUM BABYLON.-
Belen Higueras Garnica. Directora creativa de Quantum Babylon;Juan Pablo Castillo Cubillo, e Chief Executive Officer. Spain
Presentación del proyecto Quantum Babylon. En Quantum Babylon buscamos promover el arte y la cultura a todo tipo de colectivos, mediante la creación de un museo virtual 3D interactivo, donde artistas de toda índole podrán exponer sus obras y comerciar con ellas a través de las últimas innovaciones tecnológicas como los entornos inversivos y la tecnología blockchain.
Los usuarios del museo se verán representados mediante avatares y podrán pasear con libertad a través de diferentes salas de exposiciones y las obras en un entorno digital hiperrealista. Se trata de una experiencia de presencialidad compartida donde los usuarios podrán interactuar y comunicarse entre ellos. Buscamos mezclar los estímulos visuales y sonoros para lograr la completa inmersión de los usuarios hacia la obra.
El proyecto se presenta como un interesante campo de experimentación para la sinestesia digital, que puede llevarnos a una nueva relación con el espacio y la tecnología a través de los sentidos, para ofrecer nuevas formas de explorar aquellos aspectos de la percepción humana.
Presentation of the Quantum Babylon project. In Quantum Babylon we look to promote art and culture to all collectives, via the creation of an interactive 3D virtual museum, where artists of all kinds will be able to exhibit their works and trade with them using the latest technological innovations, such as inversive environments and blockchain technology.
Museum users will be rendered by avatars and will be able to walk freely through different exhibition halls and works in a hyper-realistic digital environment. It is a shared experience of presence where users will be able to interact and communicate with each other. We seek to mix visual and sound stimuli to achieve the complete immersion.
The project is presented as an interesting field of experimentation for digital synaesthesia, which can lead us to a new relationship between space and technology through the senses, to offer new ways of exploring those aspects of human perception.
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LA PALABRA PINTADA/ the painted word.
Guillermo Busutil. Premio Nacional de periodismo cultural.
Escritor y crítico de arte España Gbusutilmail.com
En la conferencia-charla LA PALABRA PINTADA expondré el papel que ha desempeñado la sensorialidad del lenguaje en la literatura. Desde la pigmentación del dibujo como metáfora de la narración como magia y la simbología textual del relato hasta su esplendor en el movimiento simbolista del que Rubén Darío fue su máximo exponente, y cuya importancia de la sinestesia es evidente en su poemario Azul, y en el la mayoría de su obra. Igualmente que en la de Rimbaud, Baudelaire o Mallarme.
La palabra escrita y oral como textura, color, sonido y atmósfera impregna gran parte de la literatura de la memoria y del monólogo del personaje del poeta en conflicto con sus emociones, y con la realidad de su época. De ese modo autores como Whitman, Jack London, Cernuda o García Lorca la han desvelado a través de la naturaleza de su lenguaje y su manera de narrar y seducir la emoción del lector.
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A Study on the Relevance of Auditory-Visual Synaesthesia to the Aesthetic Process of Art- Track:1. Tian Chi Luan1Bei Song2
Harbin Conservatory of Music
China
ltc1072975172@gmail.com
Synaesthesia is found to be a common psychological phenomenon in the aesthetic process of art. As being inseparable inthe artistic aesthetic process, auditory and visual sensory systems control the whole aesthetic process by processing different types of aesthetic information with a default cognitive processing model of the brain. In the past, the reasons and mechanisms behind it were still not conclusively uncertain though synaesthesia was considered as an important factor contributing to processing aesthetic perception, aesthetic mental imagery formation, and aesthetic experiences. With the innovative research methods of neuroscience,the research results of non invasive imaging methods of cerebral function bring new possibilities for further exploring the mechanisms of synaesthesia and its relevance to aesthetic activity.
In this study, the relevance of the auditory-visual synaesthesia mechanism and the aesthetic cognitive mechanism were discussed while incorporating previous aesthetic principles and synaesthesia processing model, in order to further explore the synaesthesia promoting effect and the principle of the aesthetic process. We consider that the auditory-visual synaesthesia mechanism and artistic aesthetic mechanism have a certain overlap at the neural level, with the two sharing specific brain functional areas for processing. It is concluded that by stabilizing the structural connections and improving the efficiency of functional connections in a variety of brain regions, synaesthesia can be mediated by the human brain default network, prefrontal neocortex and association cortices, facilitating the formation of causal networks that promote the integration of aesthetic subject-object and then promoting aesthetic creation and deepening the aesthetic experience.It is argued that, based onthe interaction between synaesthesia and artistic aesthetic mechanism, the aesthetic cognitive network not only regulates the aesthetic activity but also actively provides experience for constructing the synaesthesia system pathway, thus offering more and more possibilities for the richness and stability of the synaesthesia experience.
Our study reveals that,future researchers should pay more attention to the interaction between synaesthesia processing and aesthetic activity and take into account whether artistic training or aesthetic experience affects associative processing, and therefore further clarify the mind-brain mechanisms of synaesthesia processing production and formation.
Keywords:Synaesthesia, Auditory-visual synaesthesia, Aesthetic process of art, Relevance.
Authors Biography
1.Doctoral candidateTianChi Luan, Harbin Conservatory of Music, Heilongjjang Province of China.
2.Prof. / Dr.Bei Song, Harbin Conservatory of Music, Heilongjjang Province of China.
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Synaesthesia Design Panel, Fishbone Diagram Applications in Design and Art - Track: 3
NinghuiXiong
Painting Music Art Synaesthesia Studio
P.R.China
1460963741@qq.com
Different from scientific study or pure artistic expression in artist works for synaesthesia, synaesthetic design aims to apply synaesthesia study and its principles in real design product and interactive art, so that users can better engage and follow while enjoying the process.
Facing the challenges in applications, 1) different and complex environment, 2) changes during the process, 3) various audiences, synaesthete, nonsynaesthete, people from different culture backgrounds, even disable person etc., the author proposes a set of design tools such as “Cross Modality Design Panel” and “Synaesthesia Fishbone Diagram”. These tools can help designers to listtrigger(s), concurrence(s) including emotions and other feelings for audiences in their design.Then designers can further evaluate them in order to find out key elements by using thedesign principles such as “harmony in beauty”, “seen and hidden together”. It is based on these that designersare able to work out an innovative solutionfor better design.
Some of the author’s designs are listed as examples in the paper: paintings in a hospital, designs in other public places, for example, a pilot training center, means of transportation such as a flight cabin.
The author believes the study can contribute to Synaesthestic Design to meet current physical/ digital challenges in art education and design.
ARTE Y CIENCIA DE LA SINESTESIA: SEMIOSIS DE LA SINESTESIA, SÍNTESIS DE LA CONCIENCIA Y LA REALIDAD DEL MUNDO Y SU SIGNIFICADO EN LA ERA DIGITAL.
Francisco Acuyo Donaire. Doctor en Teoría de la Literatura y Literatura Comparada.
UGR, HUM 1014. Spain
ABSTRACT. Track 1
Si para la visión física (clásica) el mundo cuántico es motivo, si no de escándalo, sí de perplejidades, véase como ejemplo la superposición cuántica (que sea posible una doble –y simultánea- realidad en una misma secuencia de espacio-tiempo, paradigmáticamente, la dualidad onda partícula), no lo sería menos en el ámbito de los significados (de la semiótica). La sinestesia, de manera análoga, como fenómeno (retórico, lingüístico, literario, poético, amén de psicológico, médico…) de síntesis y simultaneidad, no sólo perceptiva, también de entendimiento para los diversos fenómenos de abstracción, ofrece una enigmática consideración entorno a los significados que pueda aportar al mundo de la semiosis y, en consecuencia, de esta en relación con la naturaleza de la realidad que trata de representar, acentuándose esta dificultad en la era digital, y todo ello para atender al papel fundamental que nos ofrece el fenómeno sinestésico para una consideración más profunda de la conciencia misma que quiere acceder a dicha realidad.
Keywords: sinestesia, literature, semiosis, conciencia, arte, ciencia
People who observe synaesthetic colours and forms while listening to music often try to communicate own experience by means of painting or other media. Various artists refer to synaesthetic phenomena as a basis for their ambitious approaches on multi-media arts. Such artistic transformations of synaesthetic perception draw interest by non-synaesthetes and scientists who expect some insight into these phenomena.
The digital revolution has essentially enhanced the possibilities of visualization in the temporal (animation, live action movie) and spatial domain (AR, VR). But is it already possible to communicate inner vision to other individuals in an appropriate manner? Which challenges need to be met and which limitations are set? And how can an artistic value be achieved, which requires creative additions and transformations rather than precise depictions of subjective content? Obviously, synaesthetic art needs to deliver more than simple decal pictures of inner vision. Synaesthetic visualisations can only refer to auditory signals which have passed the lower levels of physiological processing. Psychoacoustic properties of hearing essentially influence the content of musical images. Basic understanding of psychoacoustics is thus required for description of the artistic transformation processes.
Further questions arise regarding the image formation and technical execution: Shall an exact transformation of each tone or a free intuitive elaboration be used? Which differences arise if synaesthetic images are recalled from memory, compared to real-time sketching? Is it reasonable to use low speed analysis of music recordings or information taken from the music score? Such principle questions apply to both traditional techniques and digital processing. Each approach needs to face the challenge of meaningful simplifications. Like in all types of artistic work, material and techniques influence the result. What can be concluded regarding the impact of music style and era of compositions, and of the art style used for the visualization itself?
Beside scientific results and references to artist’s statements, this contribution refers to the author’s own experience with music painting, according to Johannes Itten’s phrase of “subjective experience and objective rationale as pathways to the arts”.
Joerg Jewanski, University Muenster. Jewanski@gmx.de. Germany
ABSTRACT
Composers and musicians with sound-color synesthesia see colors while composing and listening to music. Although the prevalence of people with this ability is around 0.2% of the whole population, there are dozens of world-famous composers and musicians who report to have synesthesia, or who are said to have it. The few investigations of this group tend to look at great “classical”, orchestral composers, such as Alexander Scriabin, Jean Sibelius, Oliver Messiaen, or Amy Beach, Michael Torke, or György Ligeti. Here, instead, we look at current and past famous jazz, rock, and pop musicians claiming to have synesthesia, musicians such as Pharrel Williams, Billy Joel, Charli XCX, Duke Ellington, Kanye West, Lorde, Stevie Wonder, Tori Amos, Marina Diamandis, or Dev Heynes. Our main question is: How do they use synesthesia to create music? Their ability to see melodies, chords, keys and timbres in color may help to compose songs. The perceived colors can even influence the way of dealing with the whole composition and the arrangements of compositions inside an album. Synesthetes in pop, rock and jazz music are very popular, but at the same time a nearly unexplored issue and thus requires musicology to take a closer look at them.
Keywords: music and synesthesia,
jazz music,
rock music,
pop music,
musicians, creating music.
Emily Pizzorusso- Vanderbilt University. United States. pizzorussoe22@byramhills.net.
Sean Day. International Association of Synaesthetes, Artists, and Scientists. sean.day@tridenttech.edu
ABSTRACT
We experience the world daily through our senses; but, for some, these senses are heightened and intertwined due to a phenomenon known as synesthesia. There are dozens of types of synesthesia, but the most common is grapheme color. This is the association between graphemes (numbers/letters) and colors, which is exhibited by 64% of synesthetes. It has been reported in the literature that males and females experience this type of synesthesia at the same rate. However, most studies only examine female and male rates in the most common types of synesthesia, leaving 94% of the less common types overlooked. Thus, it is unclear whether this 1:1 female to male ratio holds true for less common types of synesthesia. To answer this question, public archival data was analyzed to determine the differences between female and male rates in various types of synesthesia. This study has one of the largest sample sizes in the literature. The data were compiled from 299 males and 923 females who collectively experienced 19 different types of synesthesia, falling into the five main synesthesia clusters. Findings revealed no significant difference between the prevalence of synesthesia amongst males and females for any type or cluster of synesthesia (p > 0.05). The average female to male ratio was 1.14:1, and females were not significantly more likely to have more than one type of synesthesia compared to males (50.49% vs. 47.49%, p > 0.05). Ultimately, research on atypical brains is crucial to understanding why we all perceive, act, and behave in different ways.
Keywords: types rates,
male to female ratio, prevalence
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.Making digital technology malleable for artistic exploration of the visual music expression.
Digital technology has provided new tools and means by which to access many parameters of image and sound. We can build images and sounds from the bottom-up, working with sine waves, grains, pixels and frames. We can also work the other way, manipulate images and sounds to create completely new worlds of images and sound. What is more, it provides an incredible facility to merge the two forms of expression – visual art images and music and sound design in such a way that the two arts, can combine into a deliberately and artistically intended visual music expression. What are the lessons to be learned from working in digital platforms towards a visual music art work? This paper will present findings from twenty years of arts practice, teaching and research that has identified some of the main features of such digital technological interventions in artistic expression and what this means for approaching digital technology with a sensory design perspective. This paper intends to open up this discussion and to engage with the synaesthesia community and those involved in arts practice to consider the lessons learned in the crafting of visual music art works.
keywords: Digital technology,
Music and Art,
Image and Sound,
Visual music,
Sensory design,
Language of artistic expression
Javier Dominguez Muñino, Universidad de Sevilla, España
javierdzm@gmail.com
ABSTRACT
Nuestra realidad se constituye de fenómenos y procesos que efectúan su presencia en un paisaje material caracterizado por el diferencial escalar. Las escalas son condición propia e inalienable de la materia de lo real. Dado que todo nuestro conocimiento es, indispensablemente, un constructo y producto perceptivo, los niveles y grados de esas escalas influyen poderosamente en el atlas visual que podamos hacernos de la realidad material.
Estas escalas han sido durante largo tiempo objeto de selección y exclusión biológica en cuanto el sujeto únicamente pudo producir pensamiento, literatura y arte acerca de aquellas escalas, tamaños o dimensiones que correspondían a su capacidad ocular. Pero más allá de estos límites, se despliegan dos universos que, aunque divergentes en apariencia, terminan resultando aspectos insólitos y distintos de una misma realidad material; hablamos de los universos que encierran las escalas microscópicas y macroscópicas o, más correctamente, telescópicas. La inaudita y extrema pequeñez, y también por ello la íntima cercanía, así como lo lejano imaginario que nos ofrecen las grandes estructuras de la materia, son paisajes insólitos que ayudan a sondear dimensiones ajenas a lo que el ojo humano está capacitado para observar. Así, la implicación directa del artefacto como traductor de códigos abstractos en perceptos sensoriales, genera metáforas en que el fenómeno sinestésico queda descrito por la afectación recíproca de sentidos y lenguajes en que representar un hecho o idea.
Ling Wang
Institution: Yunnan University
Country: P. R. China
wangl@ynu.edu.cn
ABSTRACT
Cangyuan cliff paintings. The Wa people in the Cangyuan County used to hunt and behead a man every year to offer the head as a sacrifice to their gods, hoping for the protection, blessing, and bumper harvest. The practice has been replaced with beheading an ox since the 1950s, but the dancing festivities remain the same. In the Cangyuan cliffs there are images of the rice-pestling dance performed at the religious ceremony of moving house or burying the dead. It is today multifunctional for the Wa people. Some bronze artifacts from the ancient Dian culture are decorated with scenes of dancing and music-making at the Dian people’s sacrificial rituals of beheading a man and puncturing an ox to death. Some recent images painted by the Wa people have similarities with the Cangyuan cliff paintings in imagery of sacrificial dances. They may serve as a reference for the interpretation of the Cangyuan cliff paintings. On the wooden door of a storehouse exists a painting with dance images from the Qing dynasty. It displays a sequence of synaesthetically symbolic scenes intended as a memorial ceremony to the souls of the deceased that are believed to be able to be reborn to the human world from Heaven. The temple mural “Da Biqiu Yuanji” in the Menglian County depicts the funeral following a senior monk’s death in four sequential scenes. Some monks and common people of the Dai nationality are depicted as dancing together to the sounds of a gong, a Dai drum, and a set of cymbals while carrying the coffin to the graveyard. It demonstrates that the Dai people used to make music and dance to offer condolences at a funeral rite.
Keywords: images of religious dances and music-making, death and afterlife, the Wa people, the Dai people, cliff painting, mural painting
Helena Melero, Universidad Complutense de Madrid. Spain
hmelero@ucm.es
ABSTRACT
For decades, the study of the neural basis of the so-called "universal emotions" has not been fully integrated with our knowledge about the neural networks that underpin the relational, communicative and cultural aspects of the self; nor, paradoxically, with the processes of multisensory integration that characterize human experience. Nevertheless, the neuroscientific approach to the study of emotions has revolutionized our understanding of feelings and our ability to use them as adaptive tools. By reviewing the phylogenetic and ontogenetic development of emotions from the perspective of multisensory integration and in light of research on synesthesia, our definitions of these complex processes are to be updated. Emotions themselves might be the result of a dynamic process of multiple integration at different levels of our nervous system. This approach supports the theories of embodied cognition and challenges the traditional description of human development; furthermore, it defies our definition of adaptive social interaction, especially in the context of the pandemic, when virtual interactions have become customary, and provides a new avenue for studying diseases in which perception and emotional communication are impaired.
Greta Bergman. The Juilliard School. United States
gwberm@gmail.com
ABSTRACT
The innovative artist Mikalojus Konstantinas Čiurlionis 1875-1911 has the distinction of being the only composer and visual artist I have come across who considered both painting and composing of equal importance. Prolific in both mediums, no fewer than 300 musical compositions and an equal number of paintings have been attributed to him.
In his native Lithuania, he is as famous as Mozart is in Salzburg; but he has only recently been discovered in the rest of the world.
When I first started studying Čiurlionis and asking where he “fit,” I and my synesthetic colleague Carol Steen were convinced that he was not a genuine synesthete, but now I am no longer certain. I see - and shall show - evidence on both sides of the question. In other words, he might have been - like the French Symbolist painter Odilon Redon - what we call a “metaphorical” synesthete. Indeed, at first I saw him as a Symbolist artist only. But now I have found more and more evidence linking both his music and his visual art to the work of other artists we consider to have been - or be synesthetic.
My paper will explore both sides of this intriguing question. Keywords: Čiurlionis, Composer/Painter, Synesthete?
Katarzyna Zofia Kolodziejczyk, Romke Rouw, University of Amsterdam and Nicholas Root. Leiden University
katzkolodziejczyk@gmail.com
R.Rouw@uva.nl
nicholas.root@gmail.com
ABSTRACT
Online color-pickers, such as the Eagleman Synesthesia Battery (Eagleman et al., 2007), are a ubiquitous tool for grapheme-color synesthesia research. In a typical implementation, participants choose the color they most strongly associate with each individual letter of their native alphabet. An implicit assumption in the design of these standardized tests is that the letter is the correct unit of analysis in grapheme-color synesthesia, but this assumption has never been formally tested. In particular, the possibility that multigraphs (multiple graphemes which together encode a single phoneme; e.g. “th” in English, “ij” in Dutch, or “rz” in Polish) are associated with unique colors has been largely ignored. We present findings from over 40 Polish synesthetes from a custom-made online color-picking experiment and demonstrate that multigraphs are often associated with their own single color. We also compare these findings to preliminary results in English- and Dutch-speaking synesthetes. These findings are relevant to understanding the temporal dynamics of grapheme-color synesthesia, and the computational stages of grapheme processing in the brain. More broadly, these findings suggest that (1) hidden assumptions and limitations of large-scale online synesthesia tests can inadvertently steer researchers away from potentially interesting lines of inquiry, and thus (2) more flexible online testing frameworks are needed.
Nicholas Root , University of Amsterdam and The Cross-Language Synesthesia Consortium,more than 12 institutions around the world - consortia authorship - Netherlands
nicholas.root@gmail.com
ABSTRACT
In many experimental studies of synesthesia, subjects are screened using a test-retest consistency measure: the ability to report a consistent set of associations over time is taken to be a “test of genuineness” for synesthesia. In a seminal paper, Rothen et al. (2013) optimized the detection of grapheme-color synesthesia using online color pickers, calculating that a threshold of 135 (sum Euclidean distance in CIELuv color space between three repeated trials) maximizes sensitivity and specificity. Many recent studies of grapheme-color synesthesia only include self-identified synesthetes if their test-retest consistency exceeds 135. It is intuitively appealing that synesthesia be confirmed using a quantitative internet-based test, and there are ongoing efforts to create consistency tests for other types of synesthesia. However, as internet-based experiments become more common, synesthesia research will become increasingly international and inclusive, and it is important that our operational definition of “who is a synesthete” generalizes to these previously untested populations. For example, Rothen et al.’s study used only English-speaking synesthetes, and it is an open question whether the optimal threshold differs between language. Here, I use data from a large international collaboration to replicate Rothen et al.’s (2013) experiment in more than a dozen languages. I find that the optimal threshold is not significantly different from 135 in English (replicating Rothen et al.), but it is significantly lower in some languages (e.g., Russian), and significantly higher in others (e.g., Greek). Furthermore, the overall diagnosticity of test-retest consistency (area under the ROC curve) was significantly different in different languages. I suggest that the external validity of a threshold-based operationalization of synesthesia might be lower than is currently assumed. I propose one simple solution (flexible, population-specific thresholding), one thorough solution (directly modeling the cause of differences in test-retest consistency), and one provocative solution (abandoning the binary classification of subjects into “synesthete” and “control”).
Keywords: grapheme-color synesthesia,
cross-language,
test-retest consistency, test of genuineness
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Reflection of ancient Chinese synaesthesia thinking in contemporary art works
NinghuiXiong
Fundación Internacional Artecittà China delagate
PR China
1460963741@qq.com
James Wannerton
UK Synaesthesia Association
United Kingdom
Jameswannerton@outlook.com
ABSTRACT
Synaesthesia thinking is deeply integrated within traditional Chinese society. It is well known that Taoism, Confucianism and Buddhism are the three main pillars of ancient Chinese culture, but almost no one has noticed that synaesthesia is present in all of them:
Ritual & Music System of Confucianism, for its origin of Chinese art, a nature of inner music and synaesthetic emotional interaction, such as Yue Ji.
The concept “nature and human interconnection” from Taoism, including the Five Elements and Yin and Yang theories,such asBook of Changes.
The idea of “six senses union” from Buddhism, such as Surangama Sutra.
About (1), in 2015 the author, NinghuiXiong, presented his study, with examples,at the V International Congress Synaesthesia in Spain. In the paper, points (2) and (3) above are introduced with key historical evidence highlighted. He also created several art works (paintings and interactive installations) in order to present a wider understanding of these synaesthetic concepts. These art works are “Homage to Zhang Yu” painting series, “24 Solar Terms Colour Domino Art Installation”, and “Art Expression for Human Body Ebb Flow” etc.
This form of interactive learning is a very effective way of recognisingand promotingcultural heritage, and also covers many areas including the working and function of human cognition, the value and meaning of synaesthesia research and the potential benefits for human well-beingwhen dealing with today’s physical and digital challenges.
Keywords: Synaesthesia thinking, Synesthesia, Chinese philosophy, Cognition, cultural heritage, contemporary art
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"Konzeptthesia", Summary of the film
Danko Nikolić, Frankfurt Institute for Advanced Studies, (Ex)Max-Planck Institute for Brain Research
Alexandra Kirschner, Musikhochschule Zürich. https://www.musikschule-calw.de/lehrkraefte/k/kirschner-alexandra.html
"Konzeptthesia" is a short documentary film by Pascal Acker and Alexandra Kirschner with experimental scenes in which Danko Nikolić is interviewed about the origin and development of synaesthesia. He argues that it is not direct connections in the brain that elicit synaesthesia but rather the meaning induced by a stimulus, such as a letter, sound, or a word. The film is intended to show that synaesthesia can be more than the result of crossed senses through neural connections supposedly established from birth. Instead, it is the activation of concepts that seems to trigger synaesthesia. This activation seems to especially help synaesthetic children with understanding and learning their first absract concepts, such as days of the week and alphabet letters. Danko Nikolić therefore suggests that the term Ideasthesia, which means "perceiving concepts, ideas", would be a more appropriate term for this phenomenon. Hence, synaesthesia may be a phenomenon of semantics--being driven by the need to understand the world and extract the meaning of stimuli.
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Artist Talk proposal by Greg Jarvis (Founder & Director of the Canadian Synesthesia Association) Short Presentation Field: Music Track: Applicable to both Track 2 and Track 3
Working Title:Synesthetic Musical Creation vs Digital Music Notation Software
When I create a piece of music that I self-produce, recording live instruments layer by layer on a computer, I have complete freedom to create works that will fully set off my synesthetic visual perceptions – there are no rules restricting what can and cannot be done; there’s no software that I must fight to enable my tempos to speed up and slow down, there’s no metronome that I must be anchored by, there‘re no time signatures & key signatures restricting the beats per bar& pitches that can be used, and there’s no issue of what can and can’t be performed by computer-simulated (MIDI) sounds. Often the most aesthetically pleasing of visual sights for my timbre-shape audio-visual synesthesia occur when music breaks these ‘rules’ that digital music scoring programs apply in trying to make music readable on a staff. In the same way that grapheme-colour synesthetes experience an instant negative emotion when confronted with a coloured letter that fights against their innate colour system, I experience similar instant negative emotions to my music coming out ‘wrong’ due to the limitations of digital notation software.
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Synaesthesia Study on Music Iconography in Dunhuang Fresco Li Zhong
Northwest University for Nationalities Lanzhou
P.R China
Zhongli2288@163.com
ABSTRACT
In Dunhuang Fresco (366-1368) in ancient China, there were abundant resource of music iconographies, not only for Buddhas religious etiquette celebration with music, but alsofor these secular events. Besides, in Dunhuang, it has been found Buddhist historicaldocumentary records about music event and acoustics description as well. All of these evidences reflected the music life in ancient medieval time of China.
Through analysis of 1) Synaesthestic effect among these music iconographies in the fresco; 2) cross modal perception description from these ancient documents; and 3) function of music in Buddhas religious etiquette celebration, this paper is intended to study those Buddhas religious music described in Dunhuang Fresco, to recreate and rediscover the acoustic beauty of the land of Buddha.
Keywords:
Music iconography in DuanhuangFreco, Synaesthesia, cross modal perception
Authors Biography
Li ZHONG, Vice Professor, Conservatory of Music, Northwest University for Nationalities
Stepping beyond complementarity: the Chromossound challenge - aesthetic implications and first technical results.
Sérgio R. Basbaum
Pontificia Universidade Católica de São Paulo (PUC-SP)
Brazil
sergiobasbaum@pucsp.br Ítalo Santiago Vega Pontificia Universidade Católica de São Paulo (PUC-SP)
Brazil
italo@pucsp.br Victor Rosetti de Quiroz
Pontificia Universidade Católica de São Paulo (PUC-SP)
Victor.rosetti@gmail.com
ABSTRACT
Through the last 25 years, besides my involvement with other academic subjects, I've been dedicating my research efforts to several aspects of synesthesia and Visual Music (BASBAUM: 2002, 2008, 2018, 2019, 2020). One of the most challenging concepts I have developed has been that of a "Chromossound" (BASBAUM, 2002), a synesthetic particle, composed of color and sound in a non-hierarchical way, which is supposed to provide the basis for a synesthetic language, "Chromossonia". Despite many different approaches, discussed with colleagues, artists and code-developers, and despite the fantastic technological advances of the last two decades, It has been surprisingly difficult to achieve a satisfying solution for the Chromossound, able to attend its desired complexity. In terms of my Visual Music research, it can be considered a milestone for several subsequent developments that may allow a whole new compositional language. The concepts of "Chromossound" and "Chromossonia", published in Brazil almost two decades ago (BASBAUM, 2002), are related to the works of composer Jorge Antunes (1980) and to the achievements of the Visual Music tradition, from the abstract films of the 1920s on to the technological artworks of the 2020s (ABBADO, 2017; BASTOS and MOURÃO, 2020). Conceptually, they are expected to surpass the groundbreaking notion of "complementarity", proposed by the legendary John Whitney, Sr. (1994), for a notion of a non-hierarchical unity, ontologically synesthetic and fully amenable to compositional use. This transdisciplinary unity opens several interesting aesthetic questions concerning the separation of the senses and the specificity of visual and aural art traditions. I expect to show the first results of the interdisciplinary team now developing this project in the TECHNO.EXE research group in PUC-SP, São Paulo, Brazil.
Sérgio Roclaw Basbaum is a researcher, artist, and teacher, based in São Paulo, Brazil. Bachelor in cinema at the Universidade de São Paulo (USP), Ph.D. in Communication and Semiotics at Pontificia Universidade Católica de São Paulo (PUC-SP), his works deal with the relations between perception, art, technology, and cognition. He’s the author of Sinestesia, arte e tecnologia (Synesthesia, art, and technology, 2002) and O primado da percepção e suas consequências no ambiente midiático (the primacy of perception and its consequences in the mediatic environment, 2017), besides several articles and chapters released in Brazil and other countries. He has also released two albums of original compositions and arrangements, a book of poetry, and several other works in different media. Currently, he teaches at the Post Graduate Program on Technologies of Intelligence and Digital Design (TIDD) at Pontifícia Universidade Católica de São Paulo (PUC-SP).
Ítalo Santiago Vega holds a degree in Electrical Engineering from the University of São Paulo (1986), a Master's degree in Electrical Engineering from the University of São Paulo (1993) and a PhD in Electrical Engineering from the University of São Paulo (1998). He is currently a professor at the Pontifical Catholic University of São Paulo (PUC-SP) and a professor at Faculdades Integradas Rio Branco. He has experience in Electrical Engineering, with emphasis on modeling software systems, working mainly on the following topics: object paradigm, object technology, software development processes, formal models and discrete systems modeling.
Victor Bruno Rosetti de Quiroz graduated in Computer Science in 2010, he is dedicated to the development of software, games and simulators using the Unity 3D and Unreal Engine 4 tools, with focus on gamified systems and Deep Learning. He currently serves as an undergraduate professor for Information Systems and Game Design courses, focusing mainly on programming (C, C ++ and C #), artificial intelligence and hardware (operating systems and robotics).
Recursos sinestésicos en la audiodescripción museística Laura Carlucci
Universidad de Granada
España
carlucci@ugr.es
Keywords:
Museo accessible, Audiodescripción para ciegos, Sinestesia, Recursos sonoros
Authors Biography:
Laura Carlucci es Profesora Titular del Departamento de Traducción e Interpretación de la Universidad de Granada. Imparte docencia en el Grado y el Máster Universitario de Traducción Profesional, en la especialidad: Traducción Audiovisual y Accesibilidad, módulo de Traducción Accesible Museística. Autora de más de 50 publicaciones en revistas científicas, libros y capítulos de libro en el ámbito de la traducción y la didáctica, una de sus líneas de investigación más recientes busca estudiar las lógicas multisensoriales que protagonizan los diferentes modos de representación de una obra de arte para usuarios con discapacidad visual. Es miembro del grupo de investigación TRACCE (Traducción y accesibilidad). En la actualidad, trabaja en los proyectos I+D Almusactra (Acceso universal a museos andaluces a través de la traducción) y Talento (Traducción y lenguaje simplificado del patrimonio para todos. Herramienta de análisis y consulta).
Sensing Nanos with Averted Perception
track 1/3
Raewyn Turner Auckland, New Zealand, r.turner@orcon.net.nz
Brian Harris Auckland, New Zealand, harrisbrian@xtra.co.nz
Toni Fröhlich Basel, Switzerland, m.toni.froehlich@gmail.com
ABSTRACT
Sensing Nanos relies on us reading science papers and performing art experiments rather than working together in the laboratory. The project from its outset has relied on us communicating over distances that inversely mirror the dimensions that we are trying to observe. We were connected to distant places through the internet. The fact that we initially communicated via the internet by necessity turned out to be a blessing during the pandemic. In collaboration each of the team approaches the subject in a different way: Raewyn’s interest has evolved from her work with olfaction and subsequent investigation into airborne particles and nanotechnology. Her focus is on emotional and cross-sensory interpretation of sensory matter in a world of changing materials. How does it feel? What does it mean? Are there any new sensations for interpretation? Toni’s research and work in nanoscience spans the ranges from carbon nanostructures, plasmonic gold nanostructures to molecular electronics. He is particularly fascinated by the variety of nanostructures and all the possibilities they offer. Toni was relying on access to a microscope as he is not currently working in a science institution. Science institutions may not want to expose the risks of nanotechnology. Brian’s practice and knowledge of material properties and robotics resulted in him making a robotic device that extrudes soft foam shapes algorithmically controllable into suggestions of faces or architectures, each one unique and referring to pareidolia. We are exploring the possibility of human beings sensing ultrafine nanotechnologies, in particular crosssensing them as synesthetic objects that have the potential to react with cells and biomolecules and become lodged in the brain and the central nervous system. Engineered nanotechnologies have never before existed in nature and may cause an alteration, a nano-enabled synesthesia. Since our investigations in Sensing Nanos started there have been several new studies that have begun to confirm what we suspected: that people are ingesting nanotechnologies nasally
Raewyn Turner is an interdisciplinary visual artist concerned with cross- sensory perception and the unchartered territories of the senses, creating videos, interactive installations, paintings and theatre performances involving large scale international performance in stadiums, working as a concept and design theatre artist and lighting designer. She has worked with olfaction since 1999. Her works have been shown in numerous national and international exhibitions and performances.
Brian Harris studied at the University of Auckland and has since worked as a engineer creating computer controlled and embedded devices in camera robotic projects for the local and international film industry. Brian and Raewyn have collaborated since 2010 in numerous projects with major arts institutions and universities, and been artists in residence worldwide. They are currently working on Sensoria an art and science residency LAZNIA, Poland 2019 and 2023, and are part of the World Outreach Team, Journey Through The Senses, Los Angeles 2022- 23.
Toni Fröhlich is an nanoscientist who wrote his PhD thesis ("Towards an Optoelectronic Characterization of Molecules by Nanoscale Gold Antennas") at the University of Basel. Before that he was working at the Weizmann Institute in Rehovot, the Laser-Laboratory and Max Planck Institute for Dynamics and SelfOrganization in Göttingen. Toni and Raewyn began collaborating on their project Sensing Nanos in 2017 which they presented at the VI Synaesthesia Congress and SPECTRA 2018 Art + Science Symposium, South Australia
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Synaesthetic insight and synaesthetes
Anton V. Sidoroff-Dorso, Senior Teacher, Moscow Pedagogical State Universit
Aesthetic experience and some creative and adaptive cognitive processes are based on the mechanism that resembles congenital synaesthesia – reversed cognitive-sensory subordination in perceptual experience. Unlike the crossmodal correspondences that in essence are objectively based on and phenomenologically represent a subject’s history of exposure to the world around them, the synaesthetic insight is a generative, patterned and intrinsically novel. To specify, part of what constitutes pareidolic illusions, colour (sensory) constancy and other apperception extrapolations is crossmodal, involuntary, productive, veridical, consistent and category-related. Their crossmodal nature can manifest itself as additional experience of texture, spatial volume, distance, colour, shape, etc. For example, the rubber hand illusion (self/other-body visuotactile integration) can be no less veridical than one’s own body ownership (Roseboom, Lush, 2022) cf. mirror touch. It was revealed that some cohort of people can be more inclined to productive apperceptive attenuations, such as, pareidolic “recognition,” sensory illusions, colour constancy, etc. (e.g., Zhou and Meng, 2019; Allen et al., 2012). On the other hand, regarding people with synaesthesia it is known that their sensory systems are more sensitive (Barnett and Newell, 2008) and functionally intertwined (Brang et al., 2012); synaesthetes (with some types of synaesthesia) can be more or less prone to experiencing the crossmodal fusion and fission illusions sometimes as an effect of age (Neufeld et al., 2012; Whittingham et al., 2014); synesthetes exhibited a reduced Deese-Roediger-McDermott false memory effect, but do not exhibit typical color- or semantic-defined von Restorff isolation effects (Radvansky et al., 2011). Moreoer, the cohort in question demonstrates decreased experiencedependent modification of the cortical hyperconnectivity that is typically present in early development (perceptual narrowing) (Maurer at al., 2020). These individual differences associated with congenital synaesthesia demonstrate, overall, that synaesthetes’ neurocognitive mechanisms can be “better equipped” for a more effective “transcendence” of an individual sensory modality driven by higher cognitive function – the synaesthetic insight. This talk will deal with three mutually restricting and informing questions
– 1. Are people with congenital synaesthesia are more or less inclined to the synaesthetic insight and under what circumstances?
2. In light of the modified perceptual attenuation, in what way can congenital synaesthesia be insightful subjectively and creative objectively?
3. How can the top-down and bottom-up models of cognitive processing can be applied to describe development and elicitation of congenital synaesthesia? Keywords: synaesthetic insight, congenital synaesthesia, reversed cognitive sensory subordination, crossmodal correspondences, synaesthetes’ individual differences
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The Outside Looking In, The Inside Looking Out
Track2
Carol Steen,Touro College and University System
United States
rednote2@gmail.com
In my paper I would like to explore the differences between synesthetic artists and non synesthetic artists. Artists who do not have synesthesia or, who choose not to use it, work from what they see looking outward which they then bring inward. Artists use what they know, have personally seen, or felt, they use ideas, experiences, impressions, memories and find the right tools and technology that will make it possible to create what they want to show. The things they chose to explore are usually known and may have been experienced by others and so are more likely to be understood. While synesthetic artists work in much the same ways as non-synesthetic artists, there is a very important difference. Synesthetes can see without using their eyes. For example, their sense of smell, or sound, or touch can give them shaped, moving colors that they see. For those who see their visions internally they can work from the inside and bring what they see there outside. I will compare two and three Dimensional works, and discuss how digital software has made it possible to more accurately show what synesthetes see.
Carol Steen
Keywords: synesthetic art, non-synesthetic art, art looking inside, art looking outside
El exterior mirando hacia adentro, el interior mirando hacia afuera
En mi artículo me gustaría explorar las diferencias entre los artistas sinestésicos y los que no lo son. Los artistas que no tienen sinestesia o que deciden no utilizarla, trabajan a partir de lo que ven hacia fuera y lo llevan hacia dentro. Los artistas utilizan lo que conocen, lo que han visto o sentido personalmente, utilizan ideas, experiencias, impresiones, recuerdos y encuentran las herramientas y la tecnología adecuadas que hacen posible crear lo que quieren mostrar. Las cosas que eligen para explorar suelen ser conocidas y pueden haber sido experimentadas por otros, por lo que es más probable que se entiendan. Aunque los artistas sinestésicos trabajan de forma muy parecida a los artistas no sinestésicos, hay una diferencia muy importante. Los sinestésicos pueden ver sin usar los ojos. Por ejemplo, su sentido del olfato, o del sonido, o del tacto puede darles forma, colores en movimiento que ellos ven. Los que ven sus visiones internamente pueden trabajar desde el interior y llevar lo que ven allí al exterior. Compararé obras bidimensionales y tridimensionales, y hablaré de cómo el software digital ha permitido mostrar con mayor precisión lo que ven los sinestésicos.
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The Synesthesia Tree: a New Resource for the Synesthesia Community /El Árbol de la Sinestesia: un nuevo recurso para la comunidad sinestésica
Pau Sandham Burns, Spain
pau365@hotmail.com
ABSTRACT
The Synesthesia Tree is a new website about the different types of synesthesia. It has over 100 pages, each addressing a particular type, sub-type or manifestation of synesthesia as well as some phenomena which are not synesthesia but often prompt questions or doubts. Each unit contains a detailed description of the type in question, reports by people with this type, links to relevant research, curiosities and further information. This creates a linked network similar to the roots of a tree, fully accessible via incorporated tools such as an extensive alphabetical list, interactive charts or the Synesthesia Finder resource, where users choose from brief lists of concepts to quickly reach the information on the type they are looking for. The site is constantly being updated and improved and has received a very positive response within the synesthesia community. It has a dual aim: to help people with a limited knowledge of the topic to discover and learn about their own synesthesia, an aspect now increasingly facilitated by the development of new online technologies, and also to complement the excellent synesthesia resources already available – to mention a few, the Battery Test, Sean Day’s website or that of Sussex University, and the studies and books on the subject – and to make it easier for readers to access them. The Synesthesia Tree exists alongside the version in Spanish, El Árbol de la Sinestesia. As a professional translator, the author very much enjoyed the challenge of adapting the site to both languages and reaching a wider audience. The huge potential of the English version of the Tree as compared to its Spanish counterpart and the future path of both languages in today’s technological world are aspects worthy of reflection in this presentation. Format: PROJECTION BRIEF SUMMARY of the processes, sources, goals and future possibilities of these new sites and their incorporated tools Q&A SESSION, as a space for interaction and listening, enabling ideas to later be gathered to help link the Tree to other existing initiatives so that it can become an even more useful tool for the synesthesia community in future. https://www.thesynesthesiatree.com/ https://www.elarboldelasinestesia.com/
Key words: Resources, Languages, Website, Types of synesthesia, Discovering your synesthesi
RESUMEN:
El Árbol de la Sinestesia / The Synesthesia Tree es un nuevo sitio web sobre los distintos tipos de sinestesia. Tiene más de 100 páginas, cada una sobre un tipo, subtipo o manifestación diferente de la sinestesia y algunos fenómenos que no lo son pero que a menudo suscitan dudas o preguntas. Cada unidad contiene una descripción detallada del tipo en cuestión, junto con relatos personales, enlaces a investigaciones relevantes, curiosidades y más información. Todas las páginas están entrelazadas – como las raíces de un árbol – y accesibles a través de herramientas incorporadas como por ejemplo una extensa lista alfabética, tablas interactivas o, en la versión en inglés, la Synesthesia Finder, donde el usuario escoge entre series de breves conceptos que le llevarán rápidamente al tipo buscado. La web está en constante actualización y mejora y ha tenido una acogida muy positiva a los diferentes niveles de la comunidad sinestésica. Tiene una doble vocación: por un lado, ayudar a las personas sin conocimientos especiales del tema a descubrir e informarse sobre su propia sinestesia, algo que se está facilitando cada vez más hoy en día con al desarrollo las tecnologías online; y por otro, complementar de alguna manera a los excelentes recursos ya disponibles sobre la sinestesia (para citar algunos ejemplos, la Battery Test, la web de Sean Day o la de la Universidad de Sussex y los mejores estudios y libros sobre el tema) y ser una manera de acercar a los lectores a ellos. El Árbol de la Sinestesia (en español) y The Synesthesia Tree (en inglés) existen en paralelo. Como traductora profesional, la autora ha disfrutado mucho del reto de adaptar el sitio a los dos idiomas y conseguir llegar a un público más amplio. El mayor potencial de la versión en inglés y la futura trayectoria de los dos idiomas en el mundo tecnológico de hoy también son aspectos que merecen una pequeña reflexión en esta presentación. Formato: PROYECCIÓN; BREVE RESUMEN de los procesos, fuentes, metas y futuro de estos nuevos sitios web y las herramientas que incorporan; SESIÓN DE PREGUNTAS, como un espacio para interactuar y escuchar, posibilitando la posterior recopilación de ideas para que el Árbol pueda enlazarse con otras iniciativas existentes y ser una herramienta todavía más útil para la comunidad sinestésica.
https://www.thesynesthesiatree.com/
https://www.elarboldelasinestesia.com/
Palabras clave: Recursos, Idiomas, Página web, Tipos de sinestesia, Descubrir su sinestesia
Music for Alice Dali Augmented Reality Experience: Multisensory Design Soundscapes for Locative Mobile Phone Gaming (via synaesthesia).
track3
Svetlana Rudenko, Technological University Dublin Ireland- ssrrudenko@gmail.com
Mads Haahr, Trinity College Dublin Ireland- mads.haahr@tcd.ie
ABSTRACT
Composing music for digitally enhanced realities (AR/VR) requires synchronisation of the audio and visual design efforts. Recent research on multisensory design for technology (Velasco, Obrist, 2020) has found that engaging experiences should be based on knowledge about how the sensory system and perception work. In this project, our core hypothesis is that the quality of locative Augmented Reality (AR) Art/Music experiences can benefit considerably from improving the associated design processes, specifically by adopting multisensory design practice modelling synaesthesia in composing music for visual image. This paper offers insights into methodology of multisensory design soundscapes for Augmented Reality Alice Dali experience, based on 12 images painted by Salvador Dali for Lewis Carroll book “Alice’s Adventures in Wonderland”, commissioned by Random House (1873). Music composed by Svetlana Rudenko interprets the Art shapes of lines, characters and emotional perception of colour into musical textures and genres. The narration of text by Mads Haahr, director of Haunted Planet AR platform, adds verbal component into AR soundscape. Prototype is here https://rebrand.ly/alice-dali-arprototype The proposed App will be available for download for free and run on both Android and iOS. Research on “artificially induced synaesthesia”, carried at University of Sussex showed that “cognitive training including synesthetic associations may in the future be a promising new tool for vulnerable clinical groups to enhance general mental ability.” (Bor et al, 2018). Conclusions: Multisensory design applications based on synaesthesia model have a very promising potential for developing creativity, education and mental health programs.
Keywords: Multisensory design soundscapes, Music for Alice Dali AR, Augmented reality, Synaesthesia & creativity
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Multimodal and Psuedo-Synaesthetic Systems in Visual Music Composition: Applying Color Harmony to the Musical Process
track3
Umut Eldem, Royal Conservatoire Antwerp Belgium- umutreldem@gmail.com
ABSTRACT (For a long presentation – including the possibility of a ~15 minute musical/audiovisual performance.)
With the advent of digital technology there have been several new concepts applied in the creation of audiovisual art. Visual music, the application of musical concepts into visual creation, is one example of such a concept. Understanding how the human brain processes multisensory aesthetic information as well as how this relates to the synaesthetic experience enables the creation of audiovisual systems that extend the already existing audiovisual theories in the discipline visual music. In this performance-lecture, the composer Umut Eldem introduces his doctoral research of cognitive and synaesthetic correspondences in the contemporary musical creation and practice, as well as his artistic audiovisual works. Through research on the experiences of musicians with synaesthesia, as well as how non-synaesthetic people react to synaesthetic and psuedo-synaesthetic constructs, several cross-modal constants have been derived in both the creation and experience of audiovisual aesthetic information. This enables systems which can apply color and visual harmony into the emergent properties of music. The use of digital programming tools make it possible to implement these connections into audiovisual, psuedo-synaesthetic instruments that transform sound and color into each other. This results in an audiovisual space - a web of connections that can be explored in the musical and audiovisual creation process. This technique, named “synaesthetic cross-modal translation” by the composer, has been used extensively in his works and experiments. With this approach, it is possible to create audiovisual works and performances that reflect the relationship between the aural and the visual events in a very deep manner. This can be utilised for the performer through the creation of tools that use their musical gestures as aid in the visual creation, and for the audience through interactive systems that let them direct or decide the audiovisual content based on their experiences.
Keywords: Audiovisual, Synaesthetic, Technology, Theory
Electrónica para artistas y traducción sinestésica/ Electronics for artists and synaesthetic translation
Track3
María José de Córdoba Serrano & Nicolás Montoro Aguilar UGR, Dpto. DIBUJO. Grupo HUM 1014- Sinestesia y Creatividad. Investigación Interdisciplinar aplicada. España, mjdecordoba@ugr.es, nmontoro@ugr.es
ABSTRACT
The idea is to present an interactive practical experience on the use of motion sensor technology to represent the translation of the possible synesthesias sound/music/color and movement, to be carried out on the stage of the Faculty of Fine Arts of the University of Granada. Interaction of light and sound, by means of electronic sensors and actuators. Elements to be used: motion sensors, light sensors, sound sensors, image sensors, control electronics, actuators, projection system and public address systems.
Se trata de presentar una experiencia práctica interactiva sobre el uso de tecnología de sensores de movimiento, para representar la traducción de las posibles sinestesias sonido/música/color y movimiento, a realizar en el Plató de de la Facultad de Bellas Artes, de la Universidad de Granada. Interacción de luz y sonidos, mediante sensores y actuadores electrónicos. Elementos que se emplearán: sensores de movimiento, sensores de luz, captadores de sonido, catadores de imagen, electrónica de control, actuadores, sistema de proyección y sistemas de megafonía
Keywords: sonido, musica, color, movimiento
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Journey Through the Senses: insights into choreography via synesthetic impressions for piano compositions multimodal performance.
Svetlana Rudenko Technological University Dublin Ireland. ssrrudenko@gmail.com
Music is a multisensory experience; it triggers memories, associations and emotions. Some people perceive music predominantly audibly, but for others, synesthetes, the brain generates additional experiences, such as colours, gestures or sensations. Synesthesia is a neurological phenomenon that occurs when one sense produces a simultaneous and involuntary activation of another unrelated sense. The experiences of synesthetes are inherently unique to the individual, and for many artists and musicians serve as a creative inspiration. This paper will explore the symbiosis of informative structural music analysis and synesthetic reflections on music by choreography, and how synesthesia inspired creativity can be integrated into a multimodal Piano and Ballet performance with lights reflecting on the colour scheme of sound. Piano compositions Satie 6 Gnossiennes and Scriabin Sonata N4 F-sharp major, Op.30, (1903) are taken for demonstration, in which Zoe will describe her various synesthetic responses to the music, space, kinetic impulses and emotion. Through choreographic representation she will highlight types of synesthesia that influence and shape her choreographic practice including: auditory to visual synesthesia, color/ shape of music with color/ shape in body sensations, emotion to color and physical sensation synesthesia and spatial orientation to color synesthesia. Conclusions: By sharing individual multisensory experiences, performers invite the audience to embrace their own emotional responses. Taking into consideration that A. Scriabin was himself a synaesthete and planned his final drama Mysterium as a multisensory drama with lights, pantomime and audience participation, this Piano Choreography experiment gives insight into the world of creativity and sensory processing of music, movement and choreography design. Live performance listing
Keywords Synesthesia multimodal performance, Piano with visual art, live piano and ballet
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The Body Curios: can 3D printed haptic objects foster empathy in a gallery audience?
track4
CC Hart, International Association of Synaesthetes, Artists, and Scientists USA. carolyncchart@gmail.com
ABSTRACT: The Body Curios is an art installation rooted in concepts of narrative medicine and created by mirror-sensory synesthete CC Hart in consultation with interdisciplinary artist Chris Parapagidis. The installation is organized around a series of small curio cabinets that serve as a visual storytelling platform for individuals who’ve struggled with an injury or illness. Contained within the cabinets are curated mementos of the patient’s journey toward healing, along with at least one 3D printed haptic object, a “pain form” that embody's the person’s suffering. These pain forms were developed through dialogues with the patient about their physical discomfort, its intensity, sensory qualities, frequency, duration, and other standard assessment tools. Additionally, each patient completed a sensory pain inventory developed by CC Hart that includes a series of questions outside of typical clinical practice, such as the color of the pain, the shape of pain, the texture of pain etc. This sensory inventory forms the basis for the creation of the 3D printed pain form that reflects the patient’s somatosensory experience of their illness. In the gallery setting, viewers of The Body Curios are encouraged to remove the haptic object from the cabinet and to touch, hold, and engage with the pain form. The artistic intention of The Body Curios is to foster empathy by creating a pseudo-synesthetic pain->touch/vision state in the viewer.
Keywords: synesthesia, haptics, digital art, 3D printing, mirror-sensory synesthesia.
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The Taste of Pumpernickel - A Synaesthetic surprise
Track4
EMU-Ensemble performing hybrid Christine Söffing & EMU-Ensemble, Center for music & art / MUZ, Ulm University Germany, christine.soeffing@uni-ulm.de; emu-online@lists.uni-ulm.de
ABSTRACT
Pumpernickel is a type of bread made from whole grains of rye. It needs to be backed for 16 hours. It is very dark and juicy and has a special taste, something between sweet and sour. For Christine, taste has colours & shapes and sounds have also colours & shapes. Christine uses her synaesthesia to combine the colours and shapes of sounds and tastes and composes a synaesthetic piece of experimental music for the EMU-Laptop-Ensemble. The Ensemble for experimental music & art at Ulm University, the EMU-Ensemble, always composes its own pieces and works in the field between science and art. Occasionally they embrace synaesthetic ideas, like setting scents to music, performing tastes or playing colours. They also sonify data or are just improvising ambient soundscapes. In times of Corona they were not allowed to meet in person at the university. But in April 2020 they began to play online every Friday. With all advantages and disadvantages, with joy and disappointments. The Taste of Pumpernickel will be performed as a hybrid synaesthetic composition of 7-8 Minutes, live by Christine Söffing & online by the EMU-Ensemble. After the performance the Ensemble will stimulate a discussion with the audience about the composition, the struggles and joy of performing online and about technical details..
Keywords: experimental music & art, sonification of taste, hybrid performance, The Taste of Pumpernickel, EMU-Ensemble
Authors Biography
Christine Söffing is an interdisciplinary artist who uses her synaesthesia to inspire her work. She teaches art to people aged 4 to 80 and for multipliers, is guiding art-exhibitions, organising art-projects and is Head of the EMU-Ensemble since 2010. She uses her synaesthetic colour and shape perception of sounds for making music, compositions, films and sound-art-installations. She has been a member of the German synaesthesia foundation (DSG e.V.) since 2005 and is on Board of the IASAS. She is living and working in Ulm/Neu-Ulm, Germany. www.synaesthesiewerkstatt.de / www.emu-ensemble.de
The EMU-Ensemble, the Ensemble for experimental music & art & multimedia at Ulm University, was founded in 1986 by Dr. Dieter Trüstedt. The Members are students and employees of Ulm University, Artists, Musicians, Dancers and Scientists. Their tools are sounds of self-built and other instruments, voices, noises and computer generated sounds. The Ensemble works in the field between science & art and gives art-lectures. The group is performing, sonificating, tinkering, creating installations, improvising and composing its own pieces of music. Online-Ensemble: Rudolf Arnold, Axel Baune, Andreas Grünvogel-Hurst, Steffen Prochnow, Diether Sommer
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La escritura de un paisaje interdisciplinario para una ciudad invisible
track 3/4
Ângelo Dimitre Gomes Guedes, Centro Universitário do Distrito Federal (UDF). Brasil angelodimitre@gmail.com
RESUMEN
Las combinaciones entre sentidos, medios y lenguajes provocan que los artistas busquen nuevas formas de expresión que no se fijen en territorios exclusivamente visuales, sonoros o verbales. Aunque la escritura digital y otras características de las relaciones informacionales contemporáneas establecen capas complejas e importantes para tal discusión, vale recordar que estas relaciones ya fueron buscadas por artistas mucho antes de las actuales dimensiones tecnológicas y socioculturales. Este trabajo parte de ideas que el autor del texto ha dialogado, por ejemplo, en procesos creativos colaborativos propuestos para situaciones de enseñanza-aprendizaje, con el propósito de experimentar combinaciones, traslaciones y desplazamientos entre imágenes, palabras y sonoridades. De este modo, el objetivo de este trabajo es presentar un proceso de creación interdisciplinar en conjunto con reflexiones sobre la sinestesia y el intercambio de lenguajes. Para tanto, se presentarán algunos de los procedimientos y relaciones hechas para la construcción de un paisaje interdisciplinario para una de las ciudades invisibles descritas en el libro escrito por Italo Calvino. Se espera que la reflexión y las relaciones entre conceptos, movimientos y sentidos invite a más artistas e investigadores a explorar los procesos de creación interdisciplinarios, así como sus posibles implicaciones para los estudios sobre la sinestesia en el arte.
Palabras clave: intercambio de lenguajes, sinestesia y proceso de creación, fotografía y sonoridades, ciudades invisibles
Biografía del autor Fotógrafo, investigador y profesor. Doctor (2016) y Maestro (2011) en Educación, Arte e Historia de la Cultura por la Universidade Presbiteriana Mackenzie. Investigador de temas relacionados a la fotografía, imagen en movimiento, artes, comunicación y educación. Se ha dedicado a investigar aspectos del lenguaje de la fotografía y posibles conexiones con otros medios, formas y códigos. Actualmente es profesor del Curso de Publicidad y Propaganda del Centro Universitário do Distrito Federal (UDF). Tiene experiencia en disciplinas que exploran procesos de creación, comunicación visual, desarrollo de proyectos, intercambio de lenguajes, interdisciplinariedad y nuevos medios
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La belleza de los números: aproximación experimental a la musicalización de las artes /The beauty of numbers: an experimental approach to the arts musicalization
Antonio Félix Vico Prieto,Universidad de Jaén, Spain. afvico@ujaen.es
RESUMEN
Según la propuesta estética expuesta por Pitágoras (580-500 a. C.) recogida de forma pormenorizada en el tratado De musica del filosofo medieval Boecio (480-525), la visión está sometida a las mismas leyes que el oído: la belleza de las imágenes plásticas deriva de la música, y son sus relaciones las que armonizan formas como los cuadrados y los rectángulos. De esta forma, la estética pitagórica afirmaba que, si la proporción produce la belleza plástica en las imágenes visibles, y también la belleza de la música, entre el mundo geométrico y el mundo musical debe existir un parentesco necesario. Las indicaciones del propio Pitágoras afirmaban que lo que en música es un intervalo tendría una correspondencia visual en una razón de dos longitudes. Partiendo de este planteamiento, Leonardo da Vinci (1452-1519) describió sus pinturas en términos musicales diciendo que la percepción de las proporciones de una pintura crea una armonía concordante que, para el ojo, es una sensación equivalente a aquella experimentada por el oído cuando escucha música. Leon Battista Alberti (1404-1472) aseveraba que existían determinadas divisiones (intervalos) producidas por un instrumento musical que producen armonía para el oído, y que distancias similares en las líneas que pertenecen a la forma, podrían deleitar del mismo modo la mirada. Así, partiendo de esta idea de musicalización de las artes, realizamos una tarea experimental para validar dicha teoría. De manera que, si esta propuesta mantenida por la estética clásica fuera cierta, sería de esperar que hubiese una relación de equivalencia en la percepción entre las proporciones de los sonidos musicales y las proporciones análogas de sus formas visuales. El objetivo principal de dicha tarea experimental fue comprobar si existe una asociación en la belleza percibida entre estímulos musicales y estímulos de naturaleza plástica. El experimento empleó intervalos musicales obteniendo un emparejamiento con su imagen análoga. De esta manera, los resultados de este experimento parecen apoyar las teorías estéticas de Alberti y da Vinci que se hallan en la base de este trabajo experimental sobre la correspondencia de la proporción entre estímulos musicales y visuales.
Palabras clave: música, preferencia estética, percepción de la belleza, artes visuales.
ABSTRACT
Pythagoras (580-500 b. C.) suggested that relationships regulating proportions in visual arts correspond to relationships regulating musical intervals. Furthermore, in his well-known De musica tractatus Boecio (480-525), affirm that, vision is subject to the same laws as hearing: the beauty of artistic images come from music, and its relationships are the reason of the harmony shapes such as squares and rectangle. Pythagorean aesthetics affirmed that if proportion produces beauty in visible images, and also beauty in music, between music and geometry must be a necessary relationship. Pythagoras claimed that what is a ratio in painting would have a correspondence as a music interval. Leonardo da Vinci (1452-1519) described his paintings in musical terms, saying that the perception of painting’s proportions creates a consistent harmony on the eye, equivalent to that experienced by ear when listening to music. Therefore, Leon Battista Alberti (1404-1472) asseverated that certain musical divisions (intervals) that produces harmony to the ear, and similar lines (distances) belonging to the form, likewise could delight the eye. According to Pythagorean aesthetic, also in agreement by artists such Leonardo da Vinci or Leon Battista Alberti, we conducted an experimental task to evaluate the arts musicalization theory. Our experiment tries to evaluate a compared preference between music stimuli and image stimuli. The data obtained in this first experimental series suggest us a reasonable question, it was, musical distances (intervals) could be detected in other arts, such in painting. These Results support the musicalization theory mainly based on the knowledge that proportions in arts, in classical aesthetics, had their origin in music.
EVOCACIONES INTERMODALES PALABRA-IMAGEN EN LA SINESTESIA “SUMERGIDA”. DE LA MANO AL PIXEL.
Consuelo Vallejo Delgado, Departamento de Pintura. Universidad de Granada- cvallejo@ugr.es
Abstract
¿Qué es una palabra? ¿Cómo nacen? ¿Cuál es su lugar? ¿De dónde vienen? ¿En qué territorios compartidos del yo y el nosotros se ubican? ¿A qué sentidos pertenecen? Reflexionamos sobre la importancia de las relaciones intermodales, y la manera en que la práctica de éstas puede influir en la realidad del ser humano, consiguiendo una ampliación de las capacidades perceptivas, sensoriales, y, por tanto, creativas y cognitivas. La potenciación de los fenómenos similares a la sinestesia experimentados por cualquier individuo en el uso ampliado de la palabra, intermodal y multisensorial, estimulan nuevos lenguajes, ya transitados por la denominada poesía experimental o el word-art, en sus diferentes manifestaciones. Se presentan ejemplos artísticos que a modo de juegos exploran las dimensiones sensoriales de la palabra, desde una convivencia sin escisiones entre lo físico y lo digital.
Cross modal mirror contact of fractal Chinese character motion sculpture
Mr. Qin Gang, Chengdu Academy of fine arts of Sichuan Conservatory of music；Silpakorn University Thailand; China- qingangphd@163.com
ABSTRACT
In this paper, fractal Chinese character motion sculpture is used as a cross modal image generator. When motion occurs, the human brain is affected by synesthesia, and the shape in motion will be transformed into sound and changing light and shadow. This topic takes Cross Modality Design Panel and Synaesthesia Fishbone Diagram as the theoretical starting point. Explore further mirror synesthesia of shape and sound, shape and light and shadow, sound and light and shadow. Facing the challenges of application: 1. Four mobile phones were used as shooting instruments to record the movement of "phoenix" lines in space. The shape of movement leads to the change of proprioceptive balance and movement. The shape of movement stimulates emotional changes. The shape of motion will also produce tactile echoic changes. The mirror stainless steel in motion will reflect the surrounding environment, so the color changes will occur. 2. Cross Modality Design Panel and Synaesthesia Fishbone Diagram, the data of viewers of 10 different ages watching the works are counted. 3. Statistical analysis of movement shape, line type, movement frequency and interval time, strong emotion, smell, humidity, taste, movement, balance, touch, humidity, color and other data. Based on these, the researchers designed the sound, light and shadow mirror synesthesia based on the fractal motion sculpture of Chinese characters. Public works of art in public places, such as squares, parks, etc. The researchers believe that: 1. From a philosophical point of view: there is an ancient proposition in Dhyana - "wind or heart?", At this moment, fractal Chinese character movement sculpture has also become the generator of this ancient proposition. From it, everyone can explore their own answers. 2. From the perspective of synaesthesia: the motion of shape is counted through the data of the panel, and the detailed analysis is carried out on the synaesthesia fish bone diagram. The synaesthesia relationship between shape and sound, shape and light and shadow, motion and sound, motion and light and shadow can occur.
Keywords:fractal Chinese character motion sculpture, Cross modal mirror contact, Dhyana
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Walking Down The Street: The Sequel
Dr. Jasmin Rani SINHA, Synaesthesia Translator, Belgium
At the 2006 Synaesthesia Conference at the Medical Highschool Hanover, Germany, chaired by Hinderk Emrich, I presented a case of applied coloured hearing synaesthesia. Using my sound-to-colour gift, I had created a 5-voice choir score (SSATB) of the modern a cappella jazz tune “Walking Down The Street” (The Real Group, Sweden, SSTBB, https://youtu.be/UCcwWCIehQ8) by visualizing each of the five voices in detail: colour shade, texture, movement, position in space related to the pitch of each music note and transferring this perception into sheet music. In 2006, I did not yet have any knowledge on music theory and used my coloured-hearing ability as exclusive tool for producing the score. Unfortunately, it was never performed because my former a cappella group split up. Fourteen years later, the moment for the sequel has arrived: my current choir, the Luxembourg Jazz Voices has integrated my arrangement of “Walking Down The Street” into its repertoire. It was first performed in Feb 2020 at an A Cappella festival, right before the first lockdown. In my talk, I will describe how I have reworked the score, this time applying a combination of tools: my coloured hearing gift as well as my recently acquired solfege skills. I will show how the use of both tools nicely blended into each other. But, mostly relevant for the point of view of a genuine synaesthete, I will show that the task would not have been feasible if my nonsynaesthetic musical theory knowledge would have been the only tool to be applied: The colour shade of each voice could only be made discernible by applying my coloured-hearing. The talk will be illustrated by audio and visual material, including a lockdown video of the Luxembourg Jazz Voices performing “Walking Down The Street”, illustrating the physical/digital challenge of the past two years
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Primary Exploration of Art Synesthesia Course Development and Implementation
Tongjun Ding Hangzhou Normal University, Qianjiang College PR China- hangzhoudtj@163.com Congcong Li Hangzhou Normal University, Qianjiang College PR China 717791203@qq.com, Jing Liu Hangzhou Normal University, Qianjiang College PR China 13758123834@163.com, Linjuan Zhang Hangzhou Normal University, Qianjiang College PR China Xsshyc7581@163.com, Xiao Hong Hangzhou Normal University, Qianjiang College PR China fionahx831@126.com, Xu Gao Hangzhou Normal University, Qianjiang College PR China 330356658@qq.com, Xi Xu Hangzhou Normal University, Qianjiang College PR China 11362878@qq.com, Yiting Zhang Hangzhou Normal University, Qianjiang College PR China 531846353@qq.co, Ninghui Xiong Fundación Internacional Artecittà China delagate PR China 1460963741@qq.com
ABSTRACT
Synesthesia is a term used to describe a set of cognitive states related to the union of senses. It is well known that synesthesia plays an important role in art and it is deeply rooted in all related disciplines of arts. But in art education, in China, it is still a new thing without a complete system. Based on contemporary Synesthesia study and its application in art, especially the support by UGR and FICA, the Art Synaesthesia Course Team (the team) in Hangzhou Normal University has developed an Art Synesthesia Course, a new course for all students in Art and Media School. It was offered in the first semester of third year altogether 30 hours (15 weeks). After taking this course, students from different arts such as 1) music and dance, 2) environmental art design, 3) boardcasting and hosting art, 4) digital media art, 5) media production can better understand the meaning of synesthesia thinking in art and combine their synesthesia experience with the creation process of art in visual-audio, media production and performance. In doing this, possibly, a new platform in art education can be explored. The course consists of :1) On-line lectures for synesthesia awareness and basic application tools introduction;2) Face to face sessions introducing how synesthesia thinking plays its role in the five different art forms ; 3) Students practise on campus, trying to apply the theory to music, dancing and painting creative activties by transfering their experiece from nature, followed by an art exhibition. In the course, by using integrated ways to involve different forms of art by holistic synesthesia stimulation in different media, students can draw inspiration for art creation. Through the experimental course in the last semester, the team has found that this is a good exploration for reformation in current art education system. The authors believe it will bring unexpected good result in changing the mindset of the students, especially in future digital art by synesthesia study and application with great impact and value.
Keywords: Art Synesthesia Course, Course Development and Implementation, Holistic Synesthesia, Art Education.
Authors Biography
Tongjun Ding: Vice Professor of Art and Media School, Qianjiang College, Hangzhou Normal University; leader of Art Synaesthesia Course Team in Hangzhou Normal University; Co-founder of Chinese Synesthesia Allliance; General Secratry of Chinese Musical Iconology Assocation. His study direction is Chinese music history, Synesthesia in art and Chinese classical literature.
Congcong Li: Vice Dean of Art and Media School, Qianjiang College, Hangzhou Normal University; Vice professor of Boardcasting and Hosting Art; She used to work in TV stations as programe host and currently Vice Director of Boardcasting and Hosting Art Committe in Zhejiang Province; a board member of TV Artist asscoation in Zhejiang Province,; member of Chinese TV Artist Assocation. Her study is boardcasting and hosting art, art of Langauge.
Jing Liu: Lecturer of Environmental Art Design, Art and Media School, Qianjiang College, Hangzhou Normal University; PhD student in Design, China Academy of Art. Her study direction is oriental aesthetic space construction. She is good at the art of flower arrangement and curretly the lecturer of Chinese traditional flower arrangement art and the Professor of Ohararyu ikebana
Lingjuan Zhang: Director of Dancing Peformance, Art and Media School, Qianjiang College, Hangzhou Normal University; As a teacher of dance performance, her study direction is choreography in connection with social audience. Her dancing works got rewards national competitions.
Xiao Hong: Lecturer of Media Production TV Boardcasting, Art and Media School, Qianjiang College, Hangzhou Normal University; Master degree of media production in Coventry University in UK. As a tutor of firm making, her works got rewards in national competitions. Her study direction is history of firm making.
Xu Gai: Lecturer of Digital Interactive Design, Art and Media School, Qianjiang College, Hangzhou Normal University. He was art animation teacher in China Academy of Art. His past projects were including art director of Shanghai electronic art opening ceremony, program designer for Word Expo Zhejiang Hall of China etc. His study direction is emotion expression in interactive design.
Xi Xu: Lecturer of Music Performance for oboe, saxophone and solfeggio and ear training, Art and Media School, Qianjiang College, Hangzhou Normal University. Master degree of music performance in Shanghai Music Conservatory. As a professional musician, her performance got rewards in national event and festival. Her study direction is oboe performance.
Yiting Zhang: Lecturer of Dancing Performance, Art and Media School, Qianjiang College, Hangzhou Normal University; assistant of Art Synaesthesia Course Team in Hangzhou Normal University. Master degree in management and leadership. Her study direction is dancology and choreography.
Ninghui Xiong: Tutor of Art Synaesthesia Course in Hangzhou Normal University; Fundación Internacional Artecittà China delagate, Co-founder of Chinese Synesthesia Allliance, director of Painting Music Synesthesia Art Studio Beijing. Combining his art practice with synaethsia study, he has developed his synaethetic innovation methodology, aiming to improve education and design application in art
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Sonorizando cuadros: una propuesta formativa en creatividad y sinestesia
Marina Buj Corral Universidad de Girona. Universidad de Barcelona España- marina.buj@udg.edu; marina.buj@ub.edu
ABSTRACT
La presente comunicación expone una experiencia educativa relacionada con la formación en creatividad y sinestesia, consistente en la sonorización de obras pictóricas. Dicha experiencia se llevó a cabo en el marco de la asignatura Artes, calidad y multiculturalidad, del Grado de Maestro/a en Educación Primaria y Doble titulación Maestro/a en Educación Infantil y Primaria de la Universidad de Girona durante el curso 2020-2021, en el contexto de la pandemia por Covid19. Ante la necesidad de adaptar las clases a la modalidad virtual, se plantea el reto de mantener el carácter vivencial e interdisciplinar de la asignatura, vinculando las áreas musical y visual, con el fin de desarrollar la creatividad y la imaginación sonora y visual de los estudiantes. Para ello, se plantea la realización de una experiencia artística basada en el concepto de “traducción sinestésica” (Riccò, 2018), del medio visual al medio sonoro, a través de la sonorización de obras pictóricas. La experiencia se apoya también en la metodología de la investigación-acción, consistente en desarrollar una práctica artística encaminada a transformar la realidad, en este caso, la capacidad creativa y expresiva de los futuros docentes y su relación con las artes. Partiendo de determinadas imágenes, se propone la creación, exploración y selección de sonidos de la escena representada en cada cuadro de manera que traduzcan el contenido visual de la misma y conformen una visión sonora de la obra. Aplicando las tecnologías de grabación y edición del sonido, se trabaja colaborativamente para crear una propuesta de paisaje sonoro de cada uno de los cuadros. En la práctica artística realizada, el espacio virtual ha sustituido al espacio físico, permitiendo la realización de una producción conjunta en la cual interactúan los medios visual y sonoro. Como resultado de esta práctica, los distintos cuadros se perciben con los oídos, “suenan”, se escuchan, se recitan, se cantan…Esta experiencia ha contribuido a transformar la relación de los futuros maestros con las artes (música, artes visuales), a aproximarlos vivencialmente al mundo sonoro en diálogo con la imagen pictórica, así como a desarrollar su propia creatividad e imaginación sonora y visual. Esta experiencia tendrá, a su vez, eco en su futura labor docente.
Timing and Motion of a Synesthetic Visualization of Max Waves’ Loom as Digitally Animated in 3 Dimensions
Paper presentation with accompanying animation Submitted by Geri Hahn and Ann LePore
An accurate digital simulation of textile artist Geri Hahn’s synesthesia produced by synesthete & digital animator Ann LePore
For this study, Ann LePore is translating an experience not often captured adequately through language: The experience of Auditory to Visual Synesthesia. By using Computer Generated forms and compositing them into a live-action video the experience of one synesthete is now accurately shareable. The subject in this study is Geri Hahn who has multiple forms of synesthesia, although we are focusing on what she sees when she hears Max Waves’ musical score Loom. This piece was chosen because it creates reliably vivid visuals for Mrs. Hahn. Research is often dependent on written language, that being the mode through which it is most often conveyed. Synesthesia research reports broadly on things that can be captured in text and traditional publication: Such as familiar names for shapes, elementary names for colors and descriptions of sound agreed upon by the vocabulary of western musical notation. What is missing when we rely on written language? Things that defy our written language are often not included such as in-between or shifting colors, the complexity between the second and third dimensions, rapidly shifting shapes, nuances, complex emotions, blips or seismic interruptions, and individual experience of time.
Can an a digital artist working as a translator help relay experiences in a way that supports deeper scientific investigation? In order to find out, LePore used her skills as a computer graphics animator to attempt to relay the 1 volumetric visuals experienced by dynamic synesthete Geri Hahn, in a format that would be easier for a broader audience of non-synesthete to understand. What resulted was a digital animation that accurately depicts the timing, color, volume, and transformation of concrete objects which exist in Ms. Hahn’s field of vision while hearing this score. The observations gathered and the new questions formed as a result of examining these experiences and animations suggests that artists can assist in the reporting of synesthesia research by conveying experiences that written language alone cannot. This ability suggests that the language-based questions explored by current research are a limitation that could also be transcended if the vocabulary used begins to include visual and auditory understanding which is often harder to convey in concrete written language.
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A Case of Olfactory Somatosensory Response. Artistic Representation about the Synaesthesia Scent of Essential Oil and Related Material: Auto- research of 67 Odors
Jingyi Li, China
Jingyili825@hotmail.com
This paper aims to demonstrate the expression of smell with visual image and mainly studies the personal synesthesia visual manifestation of 67 odors, including 46 essential oils and 21 related materials, with a total of 90 experiences (including 23 repeated experiences of certain odors in the same or different conditions). Research method: Smell the odors of different essential oils and related materials, capture the characteristics of each odor, and record the olfactory feelings immediately through visual realization of lines, colors, graphics and also a part of text supplements that explain the detail of condition, emotion state, what is changing during this drawing period (as a simple art-therapy applied to myself). After completing this step, I will combine the basics of aromatherapy, classify smells with similar properties according to different classification rules, compare the similarities and differences in the image, and then further study the association and the possibility of causing differences.
Keywords: Synesthesia, sensation, smell, sight.
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Escucha sinestésica de una muestra ecléctica de conciertos para guitarra y orquesta; un resultado sinestésico digital.
Clara Isabel Soto Rodríguez, Universidad de Guanajuato, México. ci.sotorodriguez@ugto.mx
ABSTRACT
En mis estudios de maestría en la universidad de Guanajuato al ser yo sinestésica y guitarrista surge en mi la necesidad de traer al mundo físico las escuchas sinestésicas, por lo que lleve a cabo escuchas sinestésicas por medio de un proceso experimental, que se hizo para el proyecto de tesis, las obras fueron seleccionadas por su popularidad en el ámbito guitarrístico-académico como es El Concierto de Aranjuez de Joaquín Rodrigo, El Concierto del Sur de Manuel M. Ponce, El Concierto para guitarra y pequeña orquesta de Heitor Villalobos y El Concierto de Toronto de Leo Brouwer. Traer al mundo físico la sinestesia es complejo, en el sentido de que la persona que te escucha o lee, debe confiar plenamente en lo que dices, e intentar imaginarlo. Hoy ya podemos recrearlo con herramientas digitales, quizás mañana podamos extraerlo directamente de nuestra mente y proyectarlo. La era digital ha dado a la sinestesia la posibilidad de ser vista y conocida por personas que no son sinestésicas. Y al ser ya un objeto digitalmente visual, le brinda credibilidad, porque lo trae al mundo material. El resultado de las escuchas sinestésicas emergió en un video con duración total de 6:36 segundos donde se muestra de manera ecléctica un concierto sinestésico para guitarra y orquesta, por la diversidad visual-sonora de cada fragmento. La elaboración de este concierto visual, se dio gracias a herramientas digitales como Premiere y Photoshop. La importancia que tiene este video es relevante, pues, tanto la música como la perspectiva sinestésica están coordinadas en tiempo exacto, generando mayor entendimiento de la audición coloreada. Técnicas como la resonancia magnética funcional tienen como objetivo mostrar la actividad cerebral en el momento preciso, pues “la velocidad de transmisión de las neuronas es muy superior a la resolución temporal que nos proporcionan estas técnicas”1 y entonces, mostrar un producto digital de las audiciones coloreadas con resolución temporal exacta es ver el resultado de dicho proceso cerebral que algunas técnicas aún no logran. Al mostrar a la audiencia un producto digital musivisual, la atención se va directamente a dos canales, el sonoro y visual, haciendo más enriquecedora la experiencia perceptiva-artística, ver y escuchar música provoca la regulación de la frecuencia cardiaca2 , lo que promueve la oxigenación y por lo tanto el grado de atencionalidad.
Keywords : Sinestesia, Conciertos para guitarra, Ecléctico, Digital, Escucha Sinestésica
Light, sun, and electricity are mysteries. Everything wobbles and oscillates between two extremes; light and dark, day and night, and life and death. Since the 1970’s years, with the advances of electronic technology, sound and image have could be easily manipulated in real-time. Every parameter of each medium can be converted into data, and then used as an input in the other medium. The electronic and digital era allowed the birth of a new kind of real-time performance and a new kind of artistic method or/and attitude. The relationships between sound and image in connection with visual music are much more than the simple translation of sound frequencies to color and shapes. It is also about expressivity, dynamics, and rhythm.
By analogy with synesthesia, according to which special connections can develop between different sensory organs, I discuss the scope of “electro-synesthesia”. Here similar connections can be established between the individual media (which are individually connected to one sensory organ). In the world of media, the artist is the “creator” himself. Mostly in connection with my works of art, I dissect the relationship in connection with the synchrony and synchresis (Chion) between sound and motion picture. The goal is to outline the quality of the differences, or even identities, between the two. The parallel and the opposite of real and virtuality, their interaction may therefore be the subject of further investigation in this regard.
The synchrony between sound and motion/images is based on some kind of automatism. For example, sound generates a moving image; as a result, various changing colors, shapes appear. Rhythm, pitch, etc. are the factors that make this connection possible. We pretty much see what we hear – but not yet. The “medial shift” inevitably brings with it an “aesthetic shift”; transpositions and modifications take effect, or rather become the determining drivers of the intermediate process. The synchresis (Chion) takes the creator and recipient further along this path. The possibility of conscious interventions, of human “error,” is, therefore, another constructive element. The result can be a multi-layered, polyphonic, multimodular work of art that opens up innumerable possibilities in time and space in understanding, perceiving with eyes and ears.
Ciencia, arte, música bajo el auspicio del sentido olfativo.
Iluminada Pérez Frutos, Conservatorio de Música, Granada, Spain
ABSTRACT
The present article studies the synergy between Art and Science and between Music and Science. The composer2 links, in her work, the senses of sight, smell and hearing, in an attempt to enter the viewer’s world of feelings and emotions. The research focuses on the development and study of the correlation between the sense of smell and its relationship with the rest of the arts.
The theoretical and scientific basis for this research is the crucial role played by the sense of smell in mammals. The smell, the most primitive and most "ignored" sense by human beings, plays an important role in the process of perception and connection with reality, and in learning processes of the emotional memory. Contrasted studies demonstrate the dynamism of the brain structure when it is subjected to sensory stimuli. Hence, every smell plays a key role in learning and vital emotions. In conclusion, any contemporary plastic, literary, scenic, and specifically musical work of art, can be studied from a perspective that joins the scientific and artistic perspectives, using as a common base the odoriferous stimulation.
On Synesthesia and Tonggan: A Chinese Proposal to the World
Linfeng Shen China Academy of Art 20181040@caa.edu.cn
Abstract. It is a global dilemma that the content of ‘synesthesia’ is seriously conflicting. On one hand, according to neuroscience synesthesia is diagnosed by three standards: crossmodality, automaticity and consistency. On the other hand, synesthesia has greatly stimulated art making which is unpredictable, subjective and variant. The confliction is deepening misunderstandings between scientific and art researchers, as well as general public. To solve this problem, this study manifests a Chinese proposal which involves ‘tonggan’, a term from rhetoric to replace ‘art synesthesia’. Differences between tonggan and synesthesia can be recognized throughout a group of instances with Mussorgsky’s piano music Pictures at an Exhibition at the core. Thus, the relationship of synesthesia proper and art making is demonstrated clearly by this Chinese proposal.
Keywords: synesthesia, tonggan, Qian Zhongshu, Rimsky-Korsakov, Kandinsky, Mussorgsky, Pictures at an Exhibition, Adorno.
Fechas importantes a tener en cuenta/ Important Dates
Full papers for publication must be received by May15, 2022 to 15 June 2022 (for publication of proceedings to be delivered during the course of the conference).
El artículo completo (máximo 10 pags) para su publicación en el libro de Actas del congreso, debe
recibirse del 15 de Mayo de 2022 al 15 de junio 2022
This VII edition of the International Congress of Synaesthesia: Science and Art 2022, for the first time, presents a novel theme, in order to deepen the studies on synaesthesia following a specific common key, not excluding the lines and topics of research that have always been addressed in our congresses:
The digital/physical challenge:
Undoubtedly, the digital has become more invasive, permeating our daily and working lives.
Track1. How have synesthesia studies been affected by this transformation?
Track2. How have synaesthetes experienced this transformation?
Track 3. How have didactics and training in creativity and synaesthesia changed their methods?How can the accessibility of content and artifacts through synaesthetic translation be facilitated by applying digital technologies?
Track 4. How have artists and musicians, digital/physical exhibition events, changed the synaesthetic involvement of the audience?
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Esta próxima edición del Congreso Internacional de Sinestesia: Ciencia y Arte 2022, por primera vez, presenta un tema novedoso, con el fin de profundizar en los estudios sobre la sinestesia siguiendo una clave común específica:
El reto digital/físico
Sin duda, lo digital se ha vuelto más invasivo, impregnando nuestra vida cotidiana y laboral.
.-¿Cómo se han visto afectados los estudios de sinestesia por esta transformación?
.- ¿Cómo han experimentado los sinestésicos esta transformación?
.-¿Cómo han cambiado sus métodos la didáctica y la formación en creatividad y sinestesia?
.-¿Cómo puede facilitarse la accesibilidad de los contenidos y artefactos mediante la traducción sinestésica aplicando tecnologías digitales?.
.- ¿Cómo han cambiado los artistas y músicos, los eventos de exhibición digital/física, la implicación sinestésica del público?
Categorías/ Panels
Neurociencia y cognición /Neuroscinece and Cognition
Neurológica y lingüística / Neurology and Linguistics
Psicológica y psiquiátrica / Psychology and Psychiatry
Lingüística y literaria / Linguistics and Literature
Percepción, creatividad y sinestesia/ Perception, Creativity and Synaesthesia
Didáctica y educación / Teaching and Education
Artística / Arts
Gráfica, diseño y sinestesia / Graphics, Design and Synaesthesia
Nuevas tecnologías y sinestesia / New Technologies and Synaesthesia
Música y sinestesia / Music and Synaesthesia
Arte Terapia y Sinestesia/Art-therapy and Synaesthesia
Presentations in digital format will be made via "Zoom", the link address will be provided in due course.
Las presentaciones en formato digital se realizarán vía "Zoom" se proporcionará, en su momento, la dirección de enlace
Aula Magna del Convento de los Capuchinos, Exposición de Arte
Address: Calle del Obispo Ceballos, 1. 23680. Alcalá la Real, Jaén, Spain.
Edificio construido en el siglo XVII, sede de la Biblioteca y del Archivo Histórico
Historical building from 17th century, nowadays local Library and Historical Archive site.http://turismo.alcalalareal.es/es/lugar-interes/antiguo-convento-de-capuchinos
• Directora: Mª José de Córdoba.( F.I.A.C & Dpto. de Dibujo UGR)
• Codirectora: Dina Riccò. (Politecnico di Milano, Italia y FIAC).
• Coordinadora FIAC: Julia López de la Torre (FIAC.)
• Coordinadores Internacionales: Sean A Day, (IASAS y FIAC); Anton Sidorof Dorso (Delegación FIAC Rusia); Ninghui Xiong ( Delegación FIAC ,China); Timothy B Layden (Delegación FIAC, Inglaterra); Gaby Cardoso (Argentina).
• Directoras MuVi6: Dina Riccò, (Univ. Politécnica de Milán& FIAC) y Mª José de Córdoba, UGR& FIAC, colaboradores: Giovani Baule ( Politecnico di Milano); Jesús Pertíñez López, María del Carmen Hidalgo Martínez; Ana García López; Mar Garrido; Paz Tornero-Máster de Dibujo, BBAA, UGR. Natalia Cobo Aguilar y Ana Tirado Chica (Didáctica de la Expresión PLástica corporal y Musical, UJA) .Coordinadores locales (próxima información)
• Comité Científico: Sean A Day, Joerg Jewanski, Anton Sidoroff Dorso, Danko Nikolic, Dina Riccò, Mª José de Córdoba, Helena Melero, Oscar Iborra
• Colaboradores y coordinadores: Representantes de la Universidad Complutense de Madrid: Helena Melero; José Sánchez Montalban (Decanato Bellas Artes, UGR), Jesús Pertíñez López (Máster Dibujo,UGR); Francisco Toro Ceballos, técnico de cultura, Alcalá la Real; Federico Barquero Mesa, Delegación FIAC, Alcalá la Real; Antonio Horno López, Natalia Cobo Aguilar y Ana Tirado Chica ( Didáctica de la Expresión Plástica corporal y Musical, UJA). Juan García Villar, Dpto, Pintura, UGR. Emilio Gómez UGR, Dpto de Psicología Experimental, UGR; Rafael Marfil, Dpto. Didáctica de la Expresión plástica, UGR; Ninghui Xiong (Painting Music Synesthesia in Art Studio coodinador con Hangzhou Normal University). Svetlana Rudenko and Jame Ward, UK Synaethesia; Markus Zedler, Hannover Medical School, Clinic for Psychiatry, Social Psychiatry and Psychotherapy ;head of the Hannover Synaesthesia Workgroup, founder of the German Synaesthesia Association (DSG). Mohamed Ahmed Radi Abouarab (Universidad Kafrelsheikh, Egipto, delegado y coordinador Internacional en Egipto, Oriente Medio Africa y Países Arabes); Oscar Iborra, Dpto.Psicología Experimental, UGR. Javier Dominguez Muñino ( Universidad de Sevilla)
• Traducción simultánea: Julia López de la Torre & Timothy B Layden (expertos traductores/conocedores del tema)
Técnicos Audiovisuales: Nicolás Montoro Aguilar; Sergio Pereira Román
Contact
All questions about submissions should be emailed to info@artecitta.es.
Patrons
Excmo. Ayto. Alcalá la Real, Jaén. UGR, UJA, Politecnico di Milano, Hannover Medical School ,German Synaesthesia Association (DSG),Hangzhou Normal University, Chinese Synaesthesia Alliance, UK synaesthesia. Universidad Complutense de Madrid; IASAS. Universidad de Sevilla.
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