Synesthesia has a scientific meaning and synesthesic art has also a strict meaning. Carol Steen's work is as pionering as fascinating work of a women painter who took her synesthesia as a subject. It corresponds with a new trend opened thanks at least a doble context: a scientifical one, the new scientifical studies on synesthesia from the Eigthies on and a psychosociological one: the growth of autonomy and individualism in the western societies (Lipovetsky' studies). Synesthesia is not any more something hidden but something displayed. Together with Carol Steen' paintings and writings, the literary work of Patricia Lynne Duffy opened to a large public the secret world of synesthesia. And now we can encounter numerous sites and blogs of synesthets.
But synesthesia is challenged by metaphors. It seems that we have a binary oposition: Synesthesia with S uppercase : the neurological phenomenon versus synesthesia as metaphor, metaphorical synesthesia and even better in plural, metaphorical synesthesias.
There is a metaphorical meaning of synesthesia in literature , in the European literature since romanticism and even more with symbolism. I must confess I got some problems to admit that all I had studied and even taught as synesthesia, in deed was just synesthtic metaphors. ..
And the metaphorical status of synesthesia is not limited to literature, it exist in linguistics. Lakoff and Johnson have studied in Metaphors we live by (1980) the importance of metaphoric expressions specially in the intellectual discourse and conclued that metphors are so present that the mind is embodied. A interesting article has been written on the relation between metaphors and synesthesia by Sean Day , called Synaestheai and synaesthetic metaphors, published in 1996, on Psyche, easy to meet on the internet.
Sean Day studied the synesthtic metaphors in english but also with a comparative perspective, comparing english and german on the existence of synesthetic metaphors. I do not know if this comparation has been kept on by others on more languages. I would like to know if this exciting study has been developped about other languages.
Sean Day's quotation :
"The German data lends support to the ranking system derived for synaesthetic metaphors in English, reaffirms the heavy weighing of the 'hearing --> touch' tendency, and suggests that, at least for Germanic languages, and possibly for a fair share of Indo-European languages, the English/German model of synaesthetic metaphor ranking will hold cross-linguistically. The cause of general Indo-European trends in synaesthetic metaphors may be physiological, cultural, or both; however, establishing specifically what the trends are will help in dissolving the theory that synaesthetic metaphor constructions and rankings are totally random and arbitrary, and aid in establishing a base which may then be examined for cultural and physiological inputs."
We can say also that a third metaphorical meaning exists, which is the use of correspondences according to different cultures. As we are speaking in the mediterranean world, it is easy to sea the synesthetic world associated with wine. That's the cultural dimension of the metaphorical use of synesthesia. There is nowdays a new one, connected to new tecnological possibilities, with the multimedia works, what Leonardo called "Intersens-synesthésie ". The work of Jack Ox is be a reference work of this trend. In 2000, a conference in Marseille had been dedicated to the study of this new tendency. The program was: ( it is on Leonardo don line)
Mardi 29 novembre :
PRESENTATION D' OUVERTURE par Roger Malina
AUX DEUX EXTREMITES DE L'ORDINATEUR,
D'une part le travail du programme " Passage" de Philippe BOOTZ
D'autre part le projet littéraire et musical de Pierre MALBOSC
Dans l'un comme dans l'autre cas on est en présence d' oeuvres "ouvertes". Dans le premier cas le spectateur choisit le parcours; dans le second c'est l'interprète qui le choisit.
Le premier fait appel aux possibilités extrêmes de l'ordinateur, le second ne fait aucunement appel à l'ordinateur.
Intervention du compositeur belge de musique " générative" BEYLS*
On évoquera également les précurseur Mallarmé, Queneau, Oulipo
Mercredi 30 novembre :
INTERSENS STRUCTURELS
Nous proposons deux sortes d' intersens : d'une part des " intersens structurels " basés sur des structures réelles ou imaginées. ; d'autre part des " intersens intuitifs " perçus sans a priori.
La journée du mercredi sera consacrée à l'intersens structurel
Le travail de Jack OX présenté par J.Y. BOSSEUR*.
Présentation par Pierre VASARELY du portfolio " Bach-Vasarely "
DORA FEILANE chorégraphe et Simone STOLL peintre, sur une musique de Marcel FREMIOT.
Présentation par Jack Ox de son travail sur SCHWITTERS
Le travail que Michel PHILIPPOT* avait mené parallèlement en musique et en peinture à partir d'un même principe " dodécaphonique".
Jeudi 1er décembre :
INTERSENS INTUITIFS :
Joël CHADABE (Président de l'EMF) : " Intersens structurel et intersens intuitif "
Le CD Extra du MIM " Peintures parcourues " constitue une réalisation d'intersens intuitif, qui sera décrite par chacun des auteurs de ce CD.
Les projets de Lucie PRODHOMME avec peinture, de Marcel FORMOSA avec l'odorat.
Improvisations des divers instrumentistes du MIM sur des séquences cinématographiques anciennes ou nouvellement créées pour la circonstance.
On présentera également les travaux du Studio d'Essai* et du GRM* vers la fin des années 1960 sur des manipulations sonores et des manipulations filmées (par exemple ceux de PARMEGIANI* - DORA FEILANE et Peter FOLDES* )
Of cause, synesthesia can be used in the artistic field or in more fields, advertising for instance, as a portmanteau-word, a fashionable expression, à la mode, with even a political ....flavor of hybridity, miscegenation.
Hervé-Pierre Lambert
hplambert@hotmail.com
.
Mein GlückSeit ich des Suchens müde ward,Erlernte ich das Finden.Seit mir ein Wind hielt Widerpart,Segl' ich mit allen Winden.Ashita wa ashita no kazé ga fuku
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