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Joseph Merti. RPI. GR-3877
March 2000
My obsession with sound, image, and the interrelationship between the Arts provoked a series of projects devised for an investigation that began to be apparently easy because of its creative character ? experimental and individual. The objective set in that first project (1988; the provincial Delegation of Albacete, Spain) was to obtain a multisensory response in the spectator provoking proprioceptive reactions. For this, it was necessary to use sonic, visual, and tactile elements in such a way that the interrelationship between music (for this occasion, some pieces by the composer Joseph Merthy), pictorial images (sculpture, painting) and ambient light (three colour areas for each work, connected in such a way that they were illuminated according to colour - bass sound, mid-range, or high) would create a more unique scenic environment than that of a conventional exposition, where the protagonist is solely the pictorial work.
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There emerged an anxiety that, without knowing it, this might be sharing in time (not in place) with other investigations and artistic expressions, such as in Italian "visiva" poetry", the experimental poetry that already, in the decade of 90s, concluded in the call of "poetic synesthesia".
Although it is certain that life-style, technology, social environment, and my inquietude provoke in me this type of creative reaction, my question is objective and I need a response. This need is the one which carries me to an authenticating investigation. One must begin with the fundamental: I.) What is synesthesia? According to the dictionary: Sensation produced in a part of the body via a stimulus applied in a differing part; an image or sensation that is produced in a sense as a consequence of a stimulus which acts upon another, different sense.
I ask myself if all people are capable of creating a mental image of an environmental situation that produces a sound (for example). Is it thus: the image that is created in my brain is caused all over by the cognitive processes learned since I was born and the information provide to us in lived-in reality? If so, then the consequence: One must investigate the psychology of perception, ideation, imagination, evolutionary psychology, the processes of the creativity; and the compensatory mechanisms in the persons with disabilities.
I give as example what is said to us in the Phenomenology of Perception, by Merleau-Ponty: "The body, upon retiring from the objective world, will drag the intentional threads that link it to his immediate context and will reveal us, finally, to the subject percipient as well as to the perceptual world . To be adapted intellectually to reality is to build that reality within one?s self." Therefore there will be as many realities as persons, as many worlds perceived as persons there are.
Thus is how this first artistic psychological investigation began, exploring the following points: the Psychology of perception; Phenomenology and conclusions; Neurolinguistic programming; Sensorial representation systems; Access keys to those sensorial representations; Notes on evolutionary psychology (assimilation, accommodation, cognitive development); and a Conclusion containing: Attention; The unconscious caption; The creative conflict; The three phases of creativity; and New investigations on synesthesia.
All of this clarifies and confirms to me that the synesthetic capacity of human beings is present in most of our mental processes, more than what would be expected. And it seems be that, every time, there is more to account for. All people agree that the world is intricate, apprehended and recalled gradually with greater complexity throughout our life. Everything interacts and influences everything else.
I am not able now to present a thesis, theory or hypothesis based from my own experiences of what is synesthetic. If I can be in agreement with evolutionary psychology, and cognitive, experimental, and empirical sciences, than the results will come to say the same: We assimilate, we build, we differentiate and we filter our information filed to accommodate it to a concrete situation.
In my particular case: the knowledge, assimilation, and cognitization of the external real world will be filtered by my plans or mental structures created throughout my life. But, in the perceptive case and in the case of the synesthesia (not kinesthesia), I can say that:
- Upon attempting not to filter or discriminate information/perception in a deliberate way, I surprised myself upon discovering that my stored recollections of visible reality were greater than those which I could imagine.
- The motivation and the attention lent to the sound stimulus, conscientiously, were able to do that which, in the past, was perceived in an unconscious way or was discriminated unconsciously, or was filtered; it would be recalled and recognised in a surprising way now.
- By this I believe and assert that everybody is capable of creating in their mind a mental image of an object produced by a sound.
For example: upon hearing a meow, the figure of a cat will be represented and known in a person?s mind.
If these sounds, very familiar, known, and filed in our mental plans, provoke us to the instant representation of an image of the object that they produce, we could attempt, by means of focused attention, to listen and to hear, not in one linear, simple way, but in a polyphonic, complex way that could give us more details (than are also filed in our recollections.
(Translate- traducido por- by "Sean A. Day "President, American Synesthesia Association" .
Synaesthesia-Doctor Hugo-Museums of the Mind
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