I am an artist who was not blessed with a true neurological
synesthetic condition. Rather, I have developed a kind of relative
synesthesia. I like to compare the two conditions to absolute pitch
and relative pitch. Absolute pitch is something you have-- are born
with, although people who grow up learning tonal languages like
Chinese are more likely to have it. (Leading me to think that coming
from tonal language people their neurons are more disposed to firing
in such a way.) Relative pitch is something that you can learn––
give someone well trained in western musical tradition a pitch and the
can give you the third or the fifth.
Having spent the last 35 years engaging in a kind of Intermedia
mapping of various visual elements to sonic events- metaphoric
mappings- I have developed a synesthetic sense of my own. My color
systems are structural in nature- and I have learned them-- but
intuitively I have connected different landscape and architectural
forms with sound structures. For info on these activities check out
the various mappings at www.jackox.net.
Jack
On Feb 7, 2009, at 11:39 AM, Anne-Marie Morice wrote:
> Hi Yasminers
> First I say hello to every one and apologize for my english. Annick
> Bureaud
> invited me to join you.
> I've opened the website www.synesthesie.com in 1995 and now we have
> also a
> place near Paris for exhibitions, edition and events. It is devoted to
> contemporary art, exploring the technological possibilities, and to
> human
> sciences telling us how we can take advantage of the deep changes that
> technology are involving in our life.
> So synesthesia for me was at first a programm to look for how sound
> and
> image and text can interact in a new environment, the web. It was
> also to
> look at how different categories of art can be mixed for a better
> quality
> of emotion and expresion.
> But very quickly I met the notion of "total art" and this is really
> a big
> problem. Why? because it is a fence, some kind of imprisonment. If
> everything has a correspondance, if everything has a correlation with
> another definite thing. Very dangerous because no more freedom of
> changing
> our mind, it means a universe definitely closed on itself.
> So the question is to know if there is a universal value of the
> alphabets
> made by artists (Rimbaud, kandinsky, Messiaen...)
> There are real synesthétics like daniel Tammet a famous english
> autist who
> is able to enumerate the 22.514 first decimals of the pi number
> because he
> associates each one to colors and shapes to memorize it (he makes of
> each a
> digital landscape). Of course the interest is to understand how the
> associations come and express themselves.
> For me Synesthesia is above all the art of making links, the art to
> create
> interaction, to articulate differences, to let or to reveal
> interstitial
> thinking and behaviours between big entities. And we have not to
> forget that
> each human being makes his own interpretations, synesthesie is
> different for
> each of us and I can't pretend that my own associations would become
> the
> truth for everyone. So Synesthesia is a singular mix between
> tolerance and
> harmony.
>
> AMMorice
> http://www.synesthesie.com
> 15 rue Denfert-Rochereau
> 93200 Saint-Denis
> France
>
> 2009/2/6 Veroniki Korakidou <vkorakidou@yahoo.gr>
>
>> Dear YASMIN list,
>>
>> As announced, the Synaesthesia Discussion has already started.
>>
>> Herve Pierre Lambert gave us a very interesting update on current
>> trends in
>> Synaesthesia research. It has been acknowledged by experts, that
>> among
>> synaesthetes have been great artists who used their experiences as
>> reflected
>> in their work (Kandinsky, Messiaen et. al.)
>>
>> Also, current synaesthesia research focuses on creativity and
>> development
>> in arts education.
>>
>> One of the key topics of our Synaesthesia art & science discussion
>> is to
>> focus and explore what Synaesthesia means for a community of
>> artists, art
>> historians and researchers and what it means for the scientific
>> community. Furthemore, one of the most important aims of this
>> discussion
>> topic is to identify the interactions between artists and
>> scientists when
>> using this term.
>>
>> For instance, one very popular confusion or misconception is of
>> "Synaesthesia" and "Visual Music" as a genre. What are the main
>> historical
>> elements that have conspired to the interchange between these two
>> terms? Are
>> there any other forms of "synaesthetic arts"?
>>
>> Here is an interesting link for Visual Music :
>>
>> http://www.si21.com/interakt
>>
>> I am looking forward to read some of your reflections and comments.
>>
>> Best
>>
>> Veroniki
>>
>>
>>
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