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At the Crossroads of the SensesMain MenuAt the Crossroads of the Senses – Digital CompanionVisualizing the Table of ContentsVisualizing Synaeshesia as ConstellationSynaesthesia TimelineVision: Chapter 3 - SalomeMusic: Chapter 4 - ScriabinColor-Sounds & Visual Music: Chapter 5 - KandinskyColor-Forms, Sounds & Motion: Chapters 6–7 - Kupka and BelyTouch: Chapters 8–9 - RilkeThe Lower Senses: Scent, Taste & TouchEpilogue: The Afterlife of Synaesthesia – Neurodiversity, Visualizations, ConstellationsPolina Dimovae3cc21567714201b2dd4d0a2c7acf46b8dd6ea1c
Synaesthesia Science and Art: Introduction and Chapters 1–2
1media/Flournoy, Number Forms Diagram, Synopsie, 1893, p. 165.png2018-10-04T05:07:50-07:00Polina Dimovae3cc21567714201b2dd4d0a2c7acf46b8dd6ea1c3146932image_header15687542024-12-10T21:13:07-08:00Polina Dimovae3cc21567714201b2dd4d0a2c7acf46b8dd6ea1cKey Image: Théodore Flournoy, Number-Form Diagrams Source: Des Phénomènes de synopsie(Audition Colorée), Paris & Genève, 1893, p. 165.
Do sounds have shapes? Are the imaginary words Kiki and Bouba round or jagged? Which colors correspond to which pitches and why? What are the colors of numbers and how are numbers localized in space? What forms and shapes do sounds and music evoke in the mind of synaesthetes? How has synaesthesia as both a neurophysiological trait and an artistic metaphor been discussed since the 1800s? What types of synaesthesia, or pairings of the senses and modalities, exist? How do we test for synaesthesia? The Introduction and Chapters 1 and 2 of At the Crossroads of the Senses explore these questions, and this path of the digital companion provides further illustrations.
This page has paths:
12024-11-30T15:06:56-08:00Polina Dimovae3cc21567714201b2dd4d0a2c7acf46b8dd6ea1cAt the Crossroads of the Senses – Digital CompanionPolina Dimova69plain8578392024-12-11T14:33:18-08:00Polina Dimovae3cc21567714201b2dd4d0a2c7acf46b8dd6ea1c
Contents of this path:
1media/The-takete-maluma-effect-first-introduced-by-Koehler-1929-The-majority-of-participants_thumb.png2023-06-11T09:11:31-07:00Polina Dimovae3cc21567714201b2dd4d0a2c7acf46b8dd6ea1cDH 1.1a. Takete and Baluma4DH 1.1a. Wolfgang Köhler, “Takete and Baluma.” Source: Reproduced from Wolfgang Köhler, Gestalt Psychology, p. 243. New York: H. Liveright, 1929. Which of the two shapes corresponds to Köhler’s imaginary words Takete and Baluma? The answer should be satisfyingly intuitive.media/The-takete-maluma-effect-first-introduced-by-Koehler-1929-The-majority-of-participants.pngplain2024-12-10T21:16:06-08:00Polina Dimovae3cc21567714201b2dd4d0a2c7acf46b8dd6ea1c
1media/2560px-Booba-Kiki.svg1_thumb.png2023-06-11T09:08:34-07:00Polina Dimovae3cc21567714201b2dd4d0a2c7acf46b8dd6ea1cDH 1.1b. Kiki and Bouba4DH 1.1b. "Kiki and Bouba." Ramachandran and Hubbard, “Synaesthesia—A Window into Perception, Thought and Language,” Journal of Consciousness Studies (8.12, 2001): 3-34. two shapes corresponds to the imaginary words Kiki and Bouba?media/2560px-Booba-Kiki.svg1.pngplain2024-12-10T21:17:24-08:00Polina Dimovae3cc21567714201b2dd4d0a2c7acf46b8dd6ea1c
1media/IMG_0209_thumb.JPG2023-06-11T09:26:26-07:00Polina Dimovae3cc21567714201b2dd4d0a2c7acf46b8dd6ea1cDH 1.2. Pop-Out Effect. Visual Search Task2DH 1.2. Pop-Out Effect. In Ramachandran and Hubbard visual search task, grapheme-color synaesthetes, who may see 2 as red and 5 as green, find the embedded triangle more easily compared to controls.media/IMG_0209.JPGplain2023-06-11T09:30:26-07:00Polina Dimovae3cc21567714201b2dd4d0a2c7acf46b8dd6ea1c
1media/humanfacultydeve00galt_0422-edit_thumb.jpeg2023-06-11T09:28:47-07:00Polina Dimovae3cc21567714201b2dd4d0a2c7acf46b8dd6ea1cDH 2.1. Francis Galton, Colour Associations, 1883.1DH 2.1. Colour Associations. Francis Galton, Inquiries into Human Faculty and Its Development, 1883.media/humanfacultydeve00galt_0422-edit.jpegplain2023-06-11T09:28:48-07:00Polina Dimovae3cc21567714201b2dd4d0a2c7acf46b8dd6ea1c
1media/DH 2.2. Purkinje_file-20221021-19-ovckhv_thumb.jpg2024-12-03T17:46:09-08:00Polina Dimovae3cc21567714201b2dd4d0a2c7acf46b8dd6ea1cDH 2.2. Jan Evangelista Purkyně, Afterimages and Subjective Physiological Visual Phenomena, 18195an Evangelista Purkyně, "Beiträge zur Kenntniss des Sehens im subjectiver Hinsicht," Prague, 1819media/DH 2.2. Purkinje_file-20221021-19-ovckhv.jpgplain2024-12-03T18:02:46-08:00Polina Dimovae3cc21567714201b2dd4d0a2c7acf46b8dd6ea1c
1media/Screen Shot 2023-06-12 at 12.02.10 AM_thumb.png2023-06-11T14:09:06-07:00Polina Dimovae3cc21567714201b2dd4d0a2c7acf46b8dd6ea1cDH 2.3a. A. Wallace Rimington, Chromatic Scale in Music and Colour1Rimington, A. Wallace. Colour-Music: The Art of Mobile Colour. London: Hutchinson & co., 1912, 18-19.media/Screen Shot 2023-06-12 at 12.02.10 AM.pngplain2023-06-11T14:09:08-07:00Polina Dimovae3cc21567714201b2dd4d0a2c7acf46b8dd6ea1c
1media/Screen Shot 2023-06-12 at 12.03.09 AM_thumb.png2023-06-11T14:12:38-07:00Polina Dimovae3cc21567714201b2dd4d0a2c7acf46b8dd6ea1cDH 2.3b. A. Wallace Rimington, Extended Colour Keyboard1Rimington, A. Wallace. Colour-Music: The Art of Mobile Colour. London: Hutchinson & co., 1912, 56-57.media/Screen Shot 2023-06-12 at 12.03.09 AM.pngplain2023-06-11T14:12:39-07:00Polina Dimovae3cc21567714201b2dd4d0a2c7acf46b8dd6ea1c
12019-06-07T03:11:28-07:00Polina Dimovae3cc21567714201b2dd4d0a2c7acf46b8dd6ea1cThéodore Flournoy, Des Phénomènes de synopsie (Audition Colorée), 18931Number-Form Diagrames, Fig. 48-53, p. 165media/Flournoy, Number Forms Diagram, Synopsie, 1893, p. 165.pngplain2019-06-07T03:11:28-07:00Polina Dimovae3cc21567714201b2dd4d0a2c7acf46b8dd6ea1c
12024-08-24T16:20:14-07:00Polina Dimovae3cc21567714201b2dd4d0a2c7acf46b8dd6ea1cCharles S. Myers, "Two Cases of Synaesthesia" (1914)3British Journal of Psychology vol. 7 (1914): 112 - 117. An article devoted to the synaesthesia of Scriabin (Subject A) and an accomplished female painter (Subject B)media/Myers_1914.pdfplain2024-08-24T16:22:22-07:00Polina Dimovae3cc21567714201b2dd4d0a2c7acf46b8dd6ea1c
