Beyond visual imagery: How modality-specific is enhanced mental imagery in synesthesia?

Synesthesia based in visual modalities has been associated with reports of vivid visual imagery. We extend this finding to consider whether other forms of synesthesia are also associated with enhanced imagery, and whether this enhancement reflects the modality of synesthesia. We used self‐report imagery measures across multiple sensory modalities, comparing synesthetes’ responses (with a variety of forms of synesthesia) to those of nonsynesthete matched controls. Synesthetes reported higher levels of visual, auditory, gustatory, olfactory and tactile imagery and a greater level of imagery use. Furthermore, their reported enhanced imagery is restricted to the modalities involved in the individual’s synesthesia. There was also a relationship between the number of forms of synesthesia an individual has, and the reported vividness of their imagery, highlighting the need for future research to consider the impact of multiple forms of synesthesia. We also recommend the use of behavioral measures to validate these self‐report findings.

MusiCam: an instrument to demonstrate chromaphonic synesthesia

Inspired by a type of synesthesia where colour typically induces musical notes the MusiCam project investigates this unusual condition, particularly the transition from colour to sound. MusiCam explores the potential benefits of this idiosyncrasy as a mode of human computer interaction (1-10), providing a host of meaningful applications spanning control, communication and composition. Colour data is interpreted by means of an off-the-shelf webcam, and music is generated in real-time through regular speakers. By making colour-based gestures users can actively control the parameters of sounds, compose melodies and motifs or mix multiple tracks on the fly. The system shows great potential as an interactive medium and as a musical controller. The trials conducted to date have produced encouraging results, and only hint at the new possibilities achievable by such a device.

N1 enhancement in synesthesia during visual and audio-visual perception in semantic cross-modal conflict situations: an ERP study

Synesthesia entails a special kind of sensory perception, where stimulation in one sensory modality leads to an internally generated perceptual experience of another, not stimulated sensory modality. This phenomenon can be viewed as an abnormal multisensory integration process as here the synesthetic percept is aberrantly fused with the stimulated modality. Indeed, recent synesthesia research has focused on multimodal processing even outside of the specific synesthesia-inducing context and has revealed changed multimodal integration, thus suggesting perceptual alterations at a global level. Here, we focused on audio-visual processing in synesthesia using a semantic classification task in combination with visually or auditory-visually presented animated and in animated objects in an audio-visual congruent and incongruent manner. Fourteen subjects with auditory-visual and/or grapheme-color synesthesia and 14 control subjects participated in the experiment. During presentation of the stimuli, event-related potentials were recorded from 32 electrodes. The analysis of reaction times and error rates revealed no group differences with best performance for audio-visually congruent stimulation indicating the well-known multimodal facilitation effect. We found enhanced amplitude of the N1 component over occipital electrode sites for synesthetes compared to controls. The differences occurred irrespective of the experimental condition and therefore suggest a global influence on early sensory processing in synesthetes.

When conditioned responses "fire back": bidirectional cross-activation creates learning opportunities in synesthesia

In grapheme-color synesthesia, the letter "c" printed in black may be experienced as red, but typically the color red does not trigger the experience of the letter "c." Therefore, at the level of subjective experience, cross-activation is usually unidirectional. However, recent evidence from digit-color synesthesia suggests that at an implicit level bidirectional cross-activation can occur. Here we demonstrate that this finding is not restricted to this specific type of synesthesia. We introduce a new method that enables the investigation of bidirectionality in other types of synesthesia. We found that a group of grapheme-color synesthetes, but not a control group, showed a startle in response to a color-inducing grapheme after a startle response was conditioned to the specific corresponding color. These results implicate that when the startle response was associated with the real color an association between shock and the grapheme was also established. By this mechanism (i.e. implicit cross-activation) the conditioned response to the real color generalized to the synesthetic color. We suggest that parietal brain areas are responsible for this neural backfiring.

Synesthesia: when colors count

A tacitly held assumption in synesthesia research is the unidirectionality of digit-color associations. This notion is based on synesthetes' report that digits evoke a color percept, but colors do not elicit any numerical impression. In a random color generation task, we found evidence for an implicit co-activation of digits by colors, a finding that constrains neurological theories concerning cross-modal associations in general and synesthesia in particular.

Turning univalent stimuli bivalent: Synesthesia can cause cognitive conflict in task switching

In this study we investigated whether synesthetic color experiences have similar effects as real colors in cognitive conflict adaptation. We tested 24 synesthetes and two yoke-matched control groups in a task-switching experiment that involved regular switches between three simple decision tasks (a color decision, a form decision, and a size decision). In most of the trials the stimuli were univalent, that is, specific for each task. However, occasionally, black graphemes were presented for the size decisions and we tested whether they would trigger synesthetic color experiences and thus, turn them into bivalent stimuli. The results confirmed this expectation. We were also interested in their effect for subsequent performance (i.e., the bivalency effect). The results showed that for synesthetic colors the bivalency effect was not as pronounced as for real colors. The latter result may be related to differences between synesthetes and controls in coping with color conflict.

Development of synesthesia across the adult lifespan

In synesthesia, stimuli such as sounds, words or letters trigger experiences of colors, shapes or tastes. The consistency of these experiences is a hallmark of this condition. In a previous study we investigated for the first time whether there are age-related changes in the consistency of synesthetic experiences. Using a cross-sectional approach, we tested a sample of more than 400 grapheme-color synesthetes who have color experiences when they see letters and/or digits with a well-established test of consistency. Our results showed a decline in the number of consistent grapheme-color associations across the adult lifespan. We also assessed age-related changes in the breadth of the color spectrum. The results showed that the appearance of primary colors (i.e., red, blue, and green) was mainly age-invariant. However, there was a decline in the occurrence of lurid colors while brown and achromatic tones occurred more often as concurrents in older age. These shifts in the color spectrum suggest that synesthesia does not simply fade, but rather undergoes more comprehensive changes. These changes may be the result of a combination of both age-related perceptual and memory processing shifts. I will present the results of a second wave of data acquisition after a one-year interval to investigate the longitudinal age-related trajectory of the consistency of synesthetic experiences.

The sensitivity and specificity of a diagnostic test of sequence-space synesthesia

People with sequence-space synesthesia (SSS) report stable visuo-spatial forms corresponding to numbers, days, and months (amongst others). This type of synesthesia has intrigued scientists for over 130 years but the lack of an agreed upon tool for assessing it has held back research on this phenomenon. The present study builds on previous tests by measuring the consistency of spatial locations that is known to discriminate controls from synesthetes. We document, for the first time, the sensitivity and specificity of such a test and suggest a diagnostic cut-off point for discriminating between the groups based on the area bounded by different placement attempts with the same item.

Increased Resting State Network Connectivity in Synesthesia: Evidence for a Neural Basis of Synesthetic Consistency

Studying individual differences in conscious awareness can potentially lend fundamental insights into the neural bases of binding mechanisms and consciousness (Cohen Kadosh and Henik, 2007). Partly for this reason, considerable attention has been devoted to the neural mechanisms underlying grapheme–color synesthesia, a healthy condition involving atypical brain activation and the concurrent experience of color photisms in response to letters, numbers, and words. For instance, the letter C printed in black on a white background may elicit a yellow color photism that is perceived to be spatially colocalized with the inducing stimulus or internally in the “mind's eye” as, for instance, a visual image. Synesthetic experiences are involuntary, idiosyncratic, and consistent over time (Rouw et al., 2011). To date, neuroimaging research on synesthesia has focused on brain areas activated during the experience of synesthesia and associated structural brain differences. However, activity patterns of the synesthetic brain at rest remain largely unexplored. Moreover, the neural correlates of synesthetic consistency, the hallmark characteristic of synesthesia, remain elusive.

Käsitteellisestä ruumiilliseen, sitaatiosta paikkaan - maalaustaide ja nykytaiteen historia

The dissertation "From Conceptual to Corporeal, from Quotation to Site: Painting and History of Contemporary Art" explores the state of painting in contemporary art and art theory since the 1960s. The purpose of the study is to re-consider the dominant "end of painting" -narrative in contemporary art history, which goes back to the modernist ideology of painting as a reductive, medium-specific form of art. Drawing on Michel Foucault´s concepts of discursive formation and archive, as well as Jean-Luc Nancy´s post-phenomenological philosophy on corporeality, I suggest that contemporary painting can be redefined as a discursive-sensuous practice. Instead of seeing painting as obsolete or over as an avantgarde art genre, I show that there have been alternative, neo-avantgardist ways of defining painting since the end of the 1960s, such as French artist Daniel Buren´s early writings on painting as "theoretical practice". Consequently, the tendency of the canonical Anglo-American contemporary art narratives to underestimate the historical and institutional codes of art can be questioned. This tendency can be seen, for example, in Rosalind Krauss´s influential theory on index. The study also reflects the relations between conceptual art and painting since the 1960s and maps recent theories of painting, which re-examine the genre´s possibilities after the modernist rhetoric. Concepts of "flatbed", "painting in the extended field", "as painting" and so on are compared critically with the idea of painting as discursive practice. It is also shown that the issues in painting arise from the contemporary critical art debate while the dematerialisation paradigm of conceptual art has dissolved. The study focuses on the corporeal-material-sensuous -cluster of meanings attached to painting and searches for its avantgardist possibilities as redefined by postfeminist and post-phenomenological discourse. The ideas of hierarchy of the senses and synesthesia are developed within the framework of Jean-Luc Nancy´s and Luce Irigaray´s thought. The parameters for the study have been Finnish painting from 1990 to 2002. On the Finnish art scene there has been no "end of painting" ideology, strictly speaking. The mythology and medium-specificity of modernism have been deconstructed since the mid-1980s, but "the archive" of painting, like themes of abstraction, formalism and synesthesia have been re-worked by the discursive practice of painting, for example, in the works of Nina Roos, Tarja Pitkänen-Walter and Jussi Niva.

Luonnoksia käsityön ruumiillisuudesta. : Käsityö Maurice Merleau-Pontyn ruumiinfenomenologian valossa.

Purpose This study focused on craft from a standpoint of phenomenological philosophy and craft was interpreted through Maurice Merleau-Ponty’s phenomenology of the body. The main focus was the physical phase of the craft process, wherein a product is made from material. The aim was to interpret corporality in craft. There is no former research focusing on lived body in craft science. Physical, bodily making is inalienable in craft, but it is not articulated. Recent discussion has focused on craft as ”whole”, which emphasizes designing part in the process, and craft becomes conceptualized with the theories of art and design. The axiomatic yet silenced basis of craft, corporality, deserves to become examined as well. That is why this study answers the questions: how craft manifests in the light of phenomenology of the body and what is corporality in craft? Methods In this study I cultivated a phenomenological attitude and turned my exploring eye on craft ”in itself”. In addition I restrained myself from mere making and placed myself looking at the occurrence of craft to describe it verbally. I read up Maurice Merleau-Ponty’s phenomenology of the body on his principal work (2002) and former interpretations of it. Interpreting and understanding textual data were based on Gadamer’s hermeneutics, and the four-pronged composition of the study followed Koski’s (1995) version of the Gadamerian process of textual interpretation. Conclusions In the construction of bodily phenomenology craft was to be contemplated as a mutual relationship between the maker and the world materializing in bodily making. At the moment of making a human being becomes one with his craft, and the connection between the maker, material and the equipment appears as communication. Operational dimension was distinctive in the intentionality of craft, which operates in many ways, also in craft products. The synesthesia and synergy of craft were emphasized and craft as bodily practice came to life through them. The moment of making appeared as situation generating time and space, where throwing oneself into making may give the maker an experience of upraise beyond the dualism of mind and body. The conception of the implicit nature of craft knowledge was strengthened. In the light of interpretation it was possible to conceptualize craft as a performance and making ”in itself” as a work of art. In that case craft appeared as bodily expression, which as an experience approaches art without being it after all. The concept of aesthetic was settled into making as well. Bodily and phenomenological viewpoint on craft gave material to critically contemplate the concept of “whole craft” (kokonainen käsityö) and provided different kind of understanding of craft as making.