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1. Re: Synesthesia
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From: syn.nl@synesthesie.nl
Subject: Re: Synesthesia
Date: Wed, 13 Feb 2008 16:18:23 +0200
Paul,
Thanks for clarifying the discussion on synesthesia and the arts. Your list of definitions of neurological synesthesia and other types of multisensory, intersensory and cross-modal perceptions gives more context to the somewhat isolated phenomenon of synesthesia. I agree with you that neurological synesthesia (or synesthesia as defined by neuroscientists) needs to be understood in relation to multisensory perception. In several places in my book “The Hidden Sense†(MIT Press, 2007, cf. pages 146-149) and a forthcoming publication I have elaborated on that relationship. One of the points is that artists have used meanings of synesthesia in the last centuries that are very different than the definition given by neuroscientists in the last decades.
I would not suggest to restrict the Yasmin discussion to the neurological definition of synesthesia. First, neuroscientists do not agree on that definition. Second, there is a variety of types of synesthesias and only a few have been tested in neuroscientific studies. Third, limiting the discussion to what neuroscientists have isolated as a condition in the last decades would not do justice to the long history of artistic experiments with multimodal perception including synesthesia.
Roger,
You are right that both nature and nurture play a role in the development of synesthesia. Heredity and environment are both factors that explain synesthesia. Though, I am interested into the interaction of both. No person is born with neurological synesthesia (as defined by neuroscientists), but it is a condition, an ability I would say, that children develop in interaction with the environment. In this respect, it develops like any other forms of multisensory and intersensory perception. Some children develop synesthesia, and others do not. Like some children develop an ability in sports or in music.
This is the point where the environment and the school system becomes important. How do we recognize the synesthetic gifted children and how can we support them by providing the right sensory environment? (Besides social support to help them accept they perceive the world different.)
Veroniki,
In your last post, you make an interesting turn to the stimulation or elicitation of synesthesia by works of art. What do we know about the reception by individuals? Participants to this list have informed us about very interesting projects from the artist’s perspective. What is missing in this discussion and what I would like to know in respect to synesthesia and intersensory perception is: what are the responses of the young and older visitors? How do people respond to these kinds of multimodal art? Do they report it has opened their senses in a way? Have they become aware of any synesthetic , intersensory or cross-modal perceptions? These are developmental questions which could give us some direction in understanding the relationship between art and multisensory perception, including intersensory, cross-modal and synesthetic perception.
-- Cretien
