First Synesthesia Exhibition in China
(Video) Mobile phone application
Ninghui Xiong Media report
About psychonomic meeting Granada
The 2nd International Meeting of the Psychonomic Society was held in beautiful Granada in southern Spain, on May 5-8, 2016. Keynote speakers John Duncan (sponsored by SEPEX), Judith Kroll, Eleanor Maguire and Eldar Shafir. The Society is collaborating with the Spanish Society for Experimental Psychology (SEPEX) and the European Society for Cognitive Psychology (ESCOP), to ensure that the best of European and North American Experimental Psychology was on show.
Fiona N. Newell, Trinity College Dublin was presenting ‘Here’s looking at you: The effect of facial motion and gaze shifts on judgements of attractiveness.’ Psychonomic Society has a membership of 3,145, (with over 747 or 23.8 % outside of North America) and publishes seven journals – Psychonomic Bulletin & Review, Attention, Perception & Psychophysics, Cognitive & Affective Behavioral Neuroscience, Cognitive Research: Principles & Implications, Memory & Cognition, Learning & Behavior, and Behavior Research Methods and Instrumentation. It runs a registration-free (for members) annual meeting in the USA or Canada in November each year. Decision making: Eldar Shafir on scarcity: https://www.youtube.
Paper presentation, Musical-Space Synesthesia: Image Processing and Space/Time Organisation of Musical Texture
Trinity College Dublin hosted a conference on Synaesthesia and Cross-modal Perception, organised by Kevin Mitchel and Fiona Newell in conjunction with the UK Synaesthesia Association: ’The aim of the meeting is to provide a forum to present and discuss the latest findings on cross-modal perception and synesthesia. We aim to include scientific input from many different disciplines, with variety of perspectives from molecule to mind, relating to cross-modal perception.’
Kevin Mitchell: ‘For millennia, philosophers have mused over the nature of perception, how closely it mirrors ”reality” and whether different people might, quite without knowing it, subjectively perceive the world in very different ways.’
The conference gathered amazing people different professions and background from all around the world who are passionate to SEE and HEAR the world with other senses and from different angles. Thanks to scientists who supported ‘irrational’ experiences with feedback on a brain wiring to give confidence to artists, musicians, educators, designers to carry on their gift to people, and particularly children. Recent research proved that the brain of a newborn is cross-modal and it is an obligation to adults to nurture young age creativity and give the best understanding and new learning methods for next generation.
My visual metaphors on Preludes op.32, Rachmaninoff
(Quoting Caspar David Friedrich)
Alexander Scriabin: Dramaturgy of Archetypes in Late Opuses of Piano
The fascinating figure of Alexander Scriabin, set across the border of two centuries, still holds some mysteries to this day. Within circles of Russian Mystic symbolists he was hailed as a prophet. His life’s ambition was to create Mysterium, a music drama capable of transforming the consciousness of the human mind through an act of theurgy in which music is the primary source of communication – he wanted to create ‘divine’ harmonies to express the desire of the soul to break free from world reality and immerse itself in the creative urge, to ‘commence the journey back to the spirit’, and his synesthetic mind pushed the boundaries of the average human imagination.
Scriabin’s sensitivity to pitch was beyond that of the tempered piano, and combined with his synesthetic perception, this led him to develop a new approach to principles of harmonic creation. His self-quotation of late opuses 71, 73, and 74 in the sketches for the Preparatory Act of Mysterium bring wonder to the function or concept of other late piano miniature compositions. System of Archetypes, visually and audibly recognizable gestures-symbols, allows to delve deeper into a mystical world of composer and bring a new evaluation of the Late Piano Miniatures and their concept in Scriabin’s creative oeuvre.
Imagery in Piano Pedagogy. Visualisation of musical language in children’s piano cycle
Musical Toys, Gubaidulina
Although much literature has been written on various aspects of the pedagogical art of piano technique, very little research has focused on a holistic approach to teaching which takes into account the child’s physical condition of, and response to, childlike imagery in order to simplify the complex musical and technical challenges of piano playing. Recent scientific research has demonstrated that infants are born with multisensory perception (Infants synesthesia), but their growing brains later in life (adults) separate those senses into visual, auditory and tactile, etc. functions. It could be beneficial in Music and the Arts to cultivate the development of synesthetic perception. Ramachandran and Hubbard sum up this as follows: ‘It could lead to both synaesthesia and to a propensity toward linking seemingly unrelated concepts and ideas – in short, creativity’. This paper will aim to demonstrate the possibility of alternative teaching method based on child’s ability to cross-modal perception and developing synesthetic inner screen used by natural synesthetes for memory store. Luria described it as ‘turning sounds into vivid imagery’.’ Demonstration of method will be based on graphics of the Musical Toys score. (piano required)
International Conference on the Multimodal Experience of Music (ICMEM)
Musical-space synesthesia: Image processing and space/time organisation of musical texture
V International Congress Synesthesia, Science & Art. 16th- 19th may 2015
The musical texture of synesthete, pseudo-synesthete composers such as Scriabin, Gubaidulina, Messiaen, is organised in a certain way, making an Image/Archetype visually and audibly recognisable. According to recent research (Linkovski, Akiva-Kabiri, Gertner and Henik, 2012):’In musical-space synesthesia, musical pitches are perceived as having a spatially defined arrays…unlike the vertical and horisontal representation of musical pitch tones in the general population, synesthetes describe a linear diagonal organisation of pitch tones’.
This paper will explore the connection between three dimensional hearing/vision of an Image in musical-space synesthesia perception and its realisation in compositional writing, or interpreting, elements of musical texture. It is hypothesised that most professional musicians develop this sense through training. Scriabin’s performing tempo fluctuates continuously but the average tempo coincides with metronome indication:’he kept, side by side, two timelines'(Anatole Leikin). Synesthetical hearing and brain wiring led him to insert a colour organ into the score of Prometheus illustrating slow and fast timelines by colours. Messiaen’s ‘independence of rhythm and pitch, duration, intensity and attack'(Robert Sherlaw Johnston) indicate that Image is a primary source organisation of a musical texture.The synesthetes are considered to be more creative in Arts and Music. Understanding their musical perception, Image processing and space/time organisation of musical texture could be the key to creative interpretation and memorable performance.
Recent publication/ Musical-Space Synaesthesia: Visualisation of Musical Texture
Music is initially associated with our sense of hearing and we know that it has a strong power to stimulate our brain in terms of feelings, memories, or even to make our body to move rhythmically. But some people can experience music in additional ways- not just heard but seen, felt, smelt. This cross-modal perception, or synesthesia, allows them to perceive a particular stimulus with multiple responses, such as the shape or touch of sound, aroma of timbre, etc.
Artists use multi-sensory experiences from synesthesia to capture sound impressions in artistic forms. Musical texture of some composers, such as Scriabin, Messiaen, Liszt, Rachmaninoff (synesthetes/pseudo synesthetes), are organized in such a way that makes an image/archetype both visually and audibly recognizable. Music analysis could be the source for developing methodology of symbolic artistic visualizations. Scriabin as a performing pianist, stretched the piano to new limits of tone and touch. His performing tempo fluctuates continuously but the average tempo coincides with metronome indication: ‘he kept, side by side, two timelines’ (Leikin, 2011).
I argue that visualization of musical texture has a great influence on sound perception: timing of the musical phrases, dynamics of rhythm, harmony ‘tastes’ and the whole interpretation of the composition. My digital project, 4D visualization of musical texture, demonstrates volumetric properties of sound as a terrain ’‘landscape’ in musical-space synesthesia perception.