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The Oxford Handbook of Synesthesia by Julia Simner,Edward M. Hubbard Pdf
Synesthesia is a fascinating phenomenon which has captured the imagination of scientists and artists alike. This title brings together a broad body of knowledge about this condition into one definitive state-of-the-art handbook.
The Oxford Handbook of Synesthesia by Julia Simner,Edward M. Hubbard Pdf
Synesthesia is a fascinating phenomenon which has captured the imagination of scientists and artists alike. This title brings together a broad body of knowledge about this condition into one definitive state-of-the-art handbook.
In 1893 a Swiss neuroscientist called Theodore Flournoy conducted an interview with an individual known only as "Madame L", during which Madame L described the personalities of numbers, from 6, an orphaned young man, very well brought up and polite, to 9, the selfish and maniacal husband ofMadame 8, to the extravagant and self-centred 5. For Madame L it was impossible to contemplate the numbers without feeling their attendant personalities. This is one of the first records we have of synaesthesia, often described as a rare neurological condition that gives rise to a type of "mergingof the senses". For those who experience it - synaesthetes - one sense appears to cross with another. Some people experience the sensation of different flavours when they hear certain words, while others see vivid colours on reading words. In the varying forms of synaesthesia letters, numbers,words, sounds, colours, or textures can merge together, resulting in sensations of colourful chords, chicken that feels pointy when eaten, and beef that tastes dark blue.In this Very Short Introduction Julia Simner introduces the many different ways synaesthesia presents itself. Discussing the scientific tests we have developed for distinguishing true synaesthetes (who may not even be aware that their sensations are unusual), Simner considers how we can measure theeffects synaesthesia has on the everyday lives of people living with it. Exploring the fascinating stories of different individuals' experiences of the world through the many forms of synaesthesia, she discusses the increasingly documented links between synaesthesia and artistic creativity andlateral thinking, and also the potential limitations synaesthesia might impose. Delving into the neuroscience behind synaesthesia, Simner also relates contemporary attempts at understanding both the genetic causes of synaesthesia, and how synesthetic sensations occur in the brain.ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, andenthusiasm to make interesting and challenging topics highly readable.
Synesthesia comes from the Greek syn (meaning union) and aisthesis (sensation), literally interpreted as a joining of the senses. Synesthesia is an involuntary joining in which the real information from one sense is joined or accompanies a perception in another. Dr. Cytowic reports extensive research into the physical, psychological, neural, and familial background of a group of synesthets. His findings form the first complete picture of the brain mechanisms that underlie this remarkable perceptual experience. His research demonstrates that this rare condition is brain-based and perceptual and not mind-based, as is the case with memory or imagery. Synesthesia offers a unique and detailed study of a condition which has confounded scientists for more than 200 years.
The Oxford Handbook of Philosophy of Perception by Mohan Matthen Pdf
The Oxford Handbook of Philosophy of Perception is a survey by leading philosophical thinkers of contemporary issues and new thinking in philosophy of perception. It includes sections on the history of the subject, introductions to contemporary issues in the epistemology, ontology and aesthetics of perception, treatments of the individual sense modalities and of the things we perceive by means of them, and a consideration of how perceptual information is integrated and consolidated. New analytic tools and applications to other areas of philosophy are discussed in depth. Each of the forty-five entries is written by a leading expert, some collaborating with younger figures; each seeks to introduce the reader to a broad range of issues. All contain new ideas on the topics covered; together they demonstrate the vigour and innovative zeal of a young field. The book is accessible to anybody who has an intellectual interest in issues concerning perception.
The uncommon sensory perceptions of synesthesia explored through accounts of synesthetes' experiences, the latest scientific research, and suggestions of synesthesia in visual art, music, and literature. What is does it mean to hear music in colors, to taste voices, to see each letter of the alphabet as a different color? These uncommon sensory experiences are examples of synesthesia, when two or more senses cooperate in perception. Once dismissed as imagination or delusion, metaphor or drug-induced hallucination, the experience of synesthesia has now been documented by scans of synesthetes' brains that show "crosstalk" between areas of the brain that do not normally communicate. In The Hidden Sense, Cretien van Campen explores synesthesia from both artistic and scientific perspectives, looking at accounts of individual experiences, examples of synesthesia in visual art, music, and literature, and recent neurological research. Van Campen reports that some studies define synesthesia as a brain impairment, a short circuit between two different areas. But synesthetes cannot imagine perceiving in any other way; many claim that synesthesia helps them in daily life. Van Campen investigates just what the function of synesthesia might be and what it might tell us about our own sensory perceptions. He examines the experiences of individual synesthetes—from Patrick, who sees music as images and finds the most beautiful ones spring from the music of Prince, to the schoolgirl Sylvia, who is surprised to learn that not everyone sees the alphabet in colors as she does. And he finds suggestions of synesthesia in the work of Scriabin, Van Gogh, Kandinsky, Nabokov, Poe, and Baudelaire. What is synesthesia? It is not, van Campen concludes, an audiovisual performance, a literary technique, an artistic trend, or a metaphor. It is, perhaps, our hidden sense—a way to think visually; a key to our own sensitivity.
The Oxford Handbook of Philosophy of Perception by Mohan Matthen Pdf
The Oxford Handbook of the Philosophy of Perception is a survey by leading philosophical thinkers of contemporary issues and new thinking in philosophy of perception. It includes sections on the history of the subject, introductions to contemporary issues in the epistemology, ontology and aesthetics of perception, treatments of the individual sense modalities and of the things we perceive by means of them, and a consideration of how perceptual information is integrated and consolidated. New analytic tools and applications to other areas of philosophy are discussed in depth. Each of the forty-five entries is written by a leading expert, some collaborating with younger figures; each seeks to introduce the reader to a broad range of issues. All contain new ideas on the topics covered; together they demonstrate the vigour and innovative zeal of a young field. The book is accessible to anybody who has an intellectual interest in issues concerning perception.
Struck by Genius by Jason Padgett,Maureen Seaberg Pdf
From head trauma to scientific wonder—a “deeply absorbing . . . fascinating” true story of acquired savant syndrome (Entertainment Weekly). Twelve years ago, Jason Padgett had never made it past pre-algebra. But a violent mugging forever altered the way his brain worked. It turned an ordinary math-averse student into an extraordinary young man with a unique gift to see the world as no one else does: water pours from the faucet in crystalline patterns, numbers call to mind distinct geometric shapes, and intricate fractal patterns emerge from the movement of tree branches, revealing the intrinsic mathematical designs hidden in the objects around us. As his ability to understand physics skyrocketed, the “accidental genius” developed the astonishing ability to draw the complex geometric shapes he saw everywhere. Overcoming huge setbacks and embracing his new mind, Padgett “gained a vision of the world that is as beautiful as it is challenging.” Along the way he fell in love, found joy in numbers, and spent plenty of time having his head examined (The New York Times Book Review). Illustrated with Jason’s stunning, mathematically precise artwork, his singular story reveals the wondrous potential of the human brain, and “an incredible phenomenon which points toward dormant potential—a little Rain Man perhaps—within us all” (Darold A. Treffert, MD, author of Islands of Genius: The Bountiful Mind of the Autistic, Acquired, and Sudden Savant). “A tale worthy of Ripley’s Believe It or Not! . . . This memoir sends a hopeful message to families touched by brain injury, autism, or neurological damage from strokes.” —Booklist “How extraordinary it is to contemplate the bizarre gifts that might lie within all of us.” —People
The Handbook of Multisensory Processes by Gemma Calvert,Charles Spence,Barry E. Stein Pdf
Research is suggesting that rather than our senses being independent, perception is fundamentally a multisensory experience. This handbook reviews the evidence and explores the theory of broad underlying principles that govern sensory interactions, regardless of the specific senses involved.
The Oxford Handbook of Sound and Imagination by Mark Grimshaw-Aagaard,Mads Walther-Hansen,Martin Knakkergaard Pdf
Whether social, cultural, or individual, the act of imagination always derives from a pre-existing context. For example, we can conjure an alien's scream from previously heard wildlife recordings or mentally rehearse a piece of music while waiting for a train. This process is no less true for the role of imagination in sonic events and artifacts. Many existing works on sonic imagination tend to discuss musical imagination through terms like compositional creativity or performance technique. In this two-volume Handbook, contributors shift the focus of imagination away from the visual by addressing the topic of sonic imagination and expanding the field beyond musical compositional creativity and performance technique into other aural arenas where the imagination holds similar power. Topics covered include auditory imagery and the neurology of sonic imagination; aural hallucination and illusion; use of metaphor in the recording studio; the projection of acoustic imagination in architectural design; and the design of sound artifacts for cinema and computer games.
Synesthesia is the general name for a related set of cognitive traits. Synesthesia may be divided into two general, somewhat overlapping forms. In the first, "synesthesia proper", stimuli to a sensory input will also trigger perceptions in one or more other sensory modes. For example, a person might not only hear music, but also see it; or might not only feel a touch to the hand, but also taste it.In the second form of synesthesia, called "cognitive category synesthesia", sets of things which cultures teach us to put together and categorize, such as letters, numbers, or people's names, also get sensory addition, such as a smell, color or flavor. The letter 'A' might be seen as red; the word 'book' might put a taste of oranges in one's mouth.Synesthesia affects more than 3.7% of the world's population - that's at least one out of every 27 people! Yet it is generally unknown to most people. This book explores more than 80 different types of synesthesia, from the more common, such as colored letters and numbers and time-lines, to the extraordinarily rare, such as flavors in one's mouth producing perceptions of musical chords. The author is himself a multiple synesthete who has researched and interacted with other synesthetes around the world for over 25 years.
Synaesthesia is, in the words of the cognitive neuroscientist Cytowic, a strange sensory blending. Synaesthetes report seeing colours when hearing sounds or proper names, or they experience tastes when reading the names of subway stations. How do these rare cases relate to other more common examples where sensory experiences get mixed - cases like mirror-touch, personification, cross-modal mappings, and drug experiences? Are we all more or less synaesthetes, and does this mean that we are all subjects of crossmodal illusions? Could some apparently strange sensory cases give us an insight into how perception works? Recent research on the causes and prevalence of synaesthesia raises new questions regarding the links between these cases, and the unity of the condition. By bringing together contributions from leading cognitive neuroscientists and philosophers, this volume considers for the first time the broader theoretical lessons arising from such cases of sensory blending, with regard to the nature of perception and consciousness, the boundaries between perception, illusion and imagination, and the communicability and sharing of experiences.
The Oxford Handbook of New Audiovisual Aesthetics by John Richardson,Claudia Gorbman,Carol Vernallis Pdf
Media forms and genres are proliferating as never before, from movies, computer games and iPods to video games and wireless phones. This essay collection by recognized scholars, practitioners and non-academic writers opens discussion in exciting new directions.
Synesthetic design strives to develop products that systematically incorporate all five senses. In future, the current wealth of medical technical insights in psychology, physiology, motor functions, and neurology and the development of innovative materials with astonishing new properties will open up almost unlimited opportunities for the designer’s creativity. Haverkamp brings together for the first time precisely those aspects of this fundamental knowledge that are specifically relevant for designers. The result is a book that offers designers of all schools a clear and well-organized practical handbook and a solid foundation for their own designs.
Paul Gordon proposes a new theory of art as synaesthetic and applies this idea to various media, including works--such as movies, illustrated books, and song lyrics--that explicitly cross over into media involving the different senses. The idea of art as synaesthetic is not, however, limited to those "cross-over" works, because even an individual poem or novel or painting calls upon different senses in creating its syn-aesthetic "meaning.” Although previous studies have often devolved into those who see an obvious connection between art and synaesthesia and those who adamantly reject such a notion, Synaesthetics furthers our understanding of synaesthesia as an important, if not essential, component of artistic expression.
