Synesthesia in art

rdf:langString Synesthesia in art

rdf:langString The phrase synesthesia in art has historically referred to a wide variety of artists' experiments that have explored the co-operation of the senses (e.g. seeing and hearing; the word synesthesia is from the Ancient Greek σύν (syn), "together," and αἴσθησις (aisthēsis), "sensation") in the genres of visual music, music visualization, audiovisual art, abstract film, and intermedia (Campen 2007, Jewanski & Sidler 2006, Moritz 2003, 1999, Berman 1999, Maur 1999, Gage 1994, 1999). The age-old artistic views on synesthesia have some overlap with the current neuroscientific view on neurological synesthesia, but also some major differences, e.g. in the contexts of investigations, types of synesthesia selected, and definitions. While in neuroscientific studies synesthesia is defined as the elicitation of perceptual experiences in the absence of the normal sensory stimulation, in the arts the concept of synaesthesia is more often defined as the simultaneous perception of two or more stimuli as one gestalt experience (Campen 2009). The usage of the term synesthesia in art should, therefore, be differentiated from neurological synesthesia in scientific research. Synesthesia is by no means unique to artists or musicians. Only in the last decades have scientific methods become available to assess synesthesia in persons. For synesthesia in artists before that time one has to interpret (auto)biographical information. For instance, there has been debate on the neurological synesthesia of historical artists like Kandinsky and Scriabin (cf. Jewanski & Sidler 2006, Ione 2004, Dann 1999, Galeyev 2001). Additionally, Synesthetic art may refer to either art created by synesthetes or art created to elicit synesthetic experience in the general audience.