This study explores the relationship between synesthesia—the experience of a sensation in one perceptual domain triggering a sensation in another perceptual domain—and the arts (including painting, photography, music and literature). Its aim is twofold: to introduce readers as yet unfamiliar with synesthesia to this intriguing phenomenon by focusing on its impact on the creation and reception of art; and to alert readers already conversant with synesthesia in its many manifestations to its potential to encourage fresh ways of approaching art, of understanding the part played by our bodies in its production and receipt and, by extension, of reassessing our position in nature as humans.

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 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.

Four essayists explore the impact of synesthesia, or the involuntary joining of the senses, on the work of artists who are or who are suspected to have been synesthestic. They include David Hockney, Joan Mitchell, Tom Thomson, and Vincent van Gogh.

This study explores the relationship between synesthesia--the experience of a sensation in one perceptual domain triggering a sensation in another perceptual domain--and the arts (including painting, photography, music and literature). Its aim is twofold: to introduce readers as yet unfamiliar with synesthesia to this intriguing phenomenon by focusing on its impact on the creation and reception of art; and to alert readers already conversant with synesthesia in its many manifestations to its potential to encourage fresh ways of approaching art, of understanding the part played by our bodies in its production and receipt and, by extension, of reassessing our position in nature as humans.

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.

Die Publikation versammelt die Ergebnisse des künstlerischen Forschungsprojekts DIGITAL SYNESTHESIA (2013-2016) und stellt erstmals ein umfassendes Kompendium zum Begriff der "Digitalen Synästhesie" dar. "Digitale Synästhesie" umfasst ein völlig neues Konzept der digitalen Künste im 21. Jahrhundert, das die multimediale, auf dem binären Code basierende Ästhetik der digitalen Kunst mit der Multimodalität von Synästhesie als Wahrnehmungsform verbindet. Unter dem Begriff "Digital Synesthesia" geben die Herausgeberinnen diesem neuen Phänomen nicht nur einen Namen. Texte renommierter Medien- und Kunsttheoretiker, Medienkünstler und Neurowissenschaftler vermitteln spannende Einsichten in die Erforschung der synästhetischen Wahrnehmungsmöglichkeiten von multimedialen digitalen Kunstwerken.

Catalog of an exhibition at the the Albuquerque Museum, August 29, 2010-January 2, 2010.

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.