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Książki na temat „Synaesthesia”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 25 lipca 2025

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1

Lee, Madeleine. Synaesthesia. Firstfruits, 2008.

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2

Simon, Baron-Cohen, and Harrison John E, eds. Synaesthesia: Classic and contemporary readings. Blackwell, 1997.

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3

Fingerhut, Jörg. Habitus in habitat III: Synaesthesia and kinaesthetics. Peter Lang, 2011.

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1909-1992, Bacon Francis, ed. After Francis Bacon: Synaesthesia and sex in paint. Ashgate, 2012.

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5

Yeung, Vernie. Electronic synaesthesia: Including cd disc : M. A. Communication Design Thesis 2003. Central Saint Martins College of Art & Design, 2003.

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6

Day, Sean Andrew. Synaesthetic metaphors in english. UMI Dissertation Services, 1995.

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7

and, Bruno. Synaesthesia. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198725022.003.0006.

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Synaesthesia is a curious anomaly of multisensory perception. When presented with stimulation in one sensory channel, in addition to the percept usually associated with that channel (inducer) a true synaesthetic experiences a second percept in another perceptual modality (concurrent). Although synaesthesia is not pathological, true synaesthetes are relatively rare and their synaesthetic associations tend to be quite idiosyncratic. For this reason, studying synaesthesia is difficult, but exciting new experimental results are beginning to clarify what makes the brain of synaesthetes special and

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8

Banissy, Michael, Roi Cohen Kadosh, and Clare Jonas, eds. Synaesthesia. Frontiers Media SA, 2015. http://dx.doi.org/10.3389/978-2-88919-559-6.

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9

Nikolaou, Rene. Synaesthesia. Lulu Press, Inc., 2014.

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10

Synaesthesia. Oxford University Press, 2019.

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11

Other Synaesthesia Hb: Other Synaesthesia. State University of New York Press, 2023.

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12

Sagiv, Noam, Monika Sobczak-Edmans, and Adrian L. Williams. Personification, Synaesthesia, and Social Cognition. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199688289.003.0015.

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Defining synaesthesia has proven to be a challenging task as the number of synaesthesia variants and associated phenomena reported by synaesthetes has increased over the past decade or so. This chapter discusses the inclusion of non-sensory concurrents in the category of synaesthesia. For example, many grapheme-colour synaesthetes also attribute gender and personality to letters and numbers consistently and involuntarily. Here we assess the question of including synaesthetic personification as a type of synaesthesia. We also discuss the relationship between synaesthetic personification and oth

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13

Terhune, Devin B., David P. Luke, and Roi Cohen Kadosh. The Induction of Synaesthesia in Non-Synaesthetes. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199688289.003.0012.

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In this chapter we review research examining the induction of synaesthesia with training, posthypnotic suggestion, and pharmacological agents in non-synaesthetes. Each of these methods has been shown to produce different aspects of synaesthesia, but none have produced experiences that have been corroborated using neuroimaging assays. Nevertheless, the close parallels between induced and congenital synaesthesias have the potential to illuminate different facets of this condition. We argue that training may be a valuable model for studying the learning mechanisms underlying congenital synaesthes

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14

Rothen, Nicolas, Julia Simner, and Beat Meier, eds. Developing Synaesthesia. Frontiers Media SA, 2015. http://dx.doi.org/10.3389/978-2-88919-579-4.

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15

Other Synaesthesia. State University of New York Press, 2024.

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16

Sollberger, Michael. Can Synaesthesia Present the World as it Really Is? Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199688289.003.0010.

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Can some synaesthetic experiences be treated as veridical perceptual experiences, i.e. as conscious mental states in which worldly objects and their features perceptually appear as they really are? Most empirical scientists and philosophers working on synaesthesia answer this question in the negative. Contrary to this prevailing opinion, Mohan Matthen’s ‘When is Synaesthesia Perception?’ (Chapter 8, this volume) argues that such a dismissive approach to the epistemic properties of synaesthetic experiences is not mandatory. Matthen claims that there is conceptual room for a more tolerant approa

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17

Auvray, Malika, and Mirko Farina. Patrolling the Boundaries of Synaesthesia. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199688289.003.0013.

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Synaesthesia is a neurological condition in which people make unusual associations between various sensations. This chapter investigates conceptually whether alleged non-developmental (i.e. artificial) forms of synaesthesia could be counted as genuine synaesthetic experiences. It focuses in particular on post-hypnotic suggestions, drug habits, flavor perception, and use of sensory substitution devices. It discusses a number of criteria that have been taken as definitional of synaesthesia; namely, inducer-concurrent pairing, idiosyncrasy, consistency over time, and automaticity of the process,

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18

Vignemont, Frédérique de. Mirror-Touch Synaesthesia. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199688289.003.0014.

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Individuals with mirror-touch synaesthesia report consciously feeling tactile sensations on their own body when they see another person being touched. They have what may be called vicarious tactile sensations. Vicarious tactile sensations may almost seem unbelievable. How could one feel from the inside someone else’s sensations? First, I will focus on the intersubjective dimension of vicarious touch. In particular, I will examine whether it constitutes a kind of empathy. I will then argue that vicarious touch cannot be taken as evidence in favour of embodied social cognition. Second, I will fo

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19

Rogowska, Aleksandra Maria. Synaesthesia and Individual Differences. Cambridge University Press, 2015.

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20

Matthen, Mohan. When is Synaesthesia Perception? Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199688289.003.0009.

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Under certain conditions, synaesthesia would properly be understood as perception, i.e. as experience that affords the subject an accurate imagistic representation of some occurrence in the world that the subject understands as such. Perception is a true imagistic representation of the world concurrently around the perceiver, which, moreover, gives the perceiver unmediated reason to believe in what is so represented. Projector synaesthetes have an enhanced experience of what is known as the inducer stimulus. This experience includes a concurrent experience over and above the normal experience.

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21

Rogowska, Aleksandra Maria. Synaesthesia and Individual Differences. Cambridge University Press, 2015.

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22

Rogowska, Aleksandra Maria. Synaesthesia and Individual Differences. Cambridge University Press, 2015.

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23

Gordon, Paul. Synaesthetics: Art As Synaesthesia. Bloomsbury Publishing Plc, 2019.

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24

Gordon, Paul. Synaesthetics: Art As Synaesthesia. Bloomsbury Publishing Plc, 2021.

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25

Rogowska, Aleksandra Maria. Synaesthesia and Individual Differences. Cambridge University Press, 2015.

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26

Synaesthesia and Individual Differences. University of Cambridge ESOL Examinations, 2017.

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27

Synaesthesia: The Strangest Thing. Oxford University Press, USA, 2001.

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28

Simner, Julia. Synaesthesia: A Very Short Introduction. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780198749219.001.0001.

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Synaesthesia is often described as a rare neurological condition where one sense appears to merge or cross with another. It is a multi-variant condition that can present itself in many different ways: some synaesthetes taste words, while others see colours when they hear sounds. Synaesthesia: A Very Short Introduction describes this extraordinary condition, explaining what synaesthesia is, how it manifests itself, what causes it, how it feels, how it links to creativity and the arts, and what it can tell us about every human’s perceptions of reality. Delving into the neuroscience behind synaes

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29

Ward, Jamie. Music and shape in synaesthesia. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0021.

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People with synaesthesia have extra percept-like experiences that are automatically elicited by certain stimuli: for instance, some synaesthetes experience music visually as well as via hearing. Although this has historically been labelled as ‘coloured hearing’, there is far more to the experience than colour: the visions also tend to have shape, movement, texture and location. The chapter starts with a general overview of synaesthesia and then goes on to consider auditory–visual synaesthesia in particular, concentrating on what little is known about shape. Whereas most psychological research

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30

Butler, Shane, and Alex Purves, eds. Synaesthesia and the Ancient Senses. Routledge, 2014. http://dx.doi.org/10.4324/9781315729848.

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31

Purves, Alex, and Shane Butler. Synaesthesia and the Ancient Senses. Taylor & Francis Group, 2014.

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32

Purves, Alex, and Shane Butler. Synaesthesia and the Ancient Senses. Taylor & Francis Group, 2014.

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33

Synaesthesia And The Ancient Senses. Acumen Publishing Ltd, 2013.

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34

Synaesthesia And The Ancient Senses. Acumen Publishing Ltd, 2013.

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35

Synaesthesia and the Ancient Senses. Routledge, 2014.

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36

Purves, Alex, and Shane Butler. Synaesthesia and the Ancient Senses. Taylor & Francis Group, 2014.

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37

Purves, Alex, and Shane Butler. Synaesthesia and the Ancient Senses. Taylor & Francis Group, 2014.

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38

(Editor), Simon Baron-Cohen, and John E. Harrison (Editor), eds. Synaesthesia: Classic and Contemporary Readings. Blackwell Publishers, 1996.

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39

Wheeler, Raymond Holder. Synaesthesia in Judging and Choosing. Creative Media Partners, LLC, 2021.

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40

(Editor), John E. Harrison, and Simon Baron-Cohen (Editor), eds. Synaesthesia: Classic and Contemporary Readings. Blackwell Publishers, 1996.

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41

William Blake's Visions: Art, Hallucinations, Synaesthesia. Palgrave Macmillan, 2024.

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42

Felle, Courtney, Gaia Rajan, and Topaz Winters. Half Mystic Journal Issue IX: Synaesthesia. Indy Pub, 2021.

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43

Abath, André J. Merleau-Ponty and the Problem of Synaesthesia. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199688289.003.0008.

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This chapter discusses Merleau-Ponty’s account of synaesthesia as presented in his Phenomenology of Perception. The chapter argues, first, that this account is unsuccessful in dealing with what will be called synaesthesia proper. Second, the chapter argues that this account also falls short of illuminating two other forms of sensory union, namely crossmodal correspondences and crossmodal mental imagery. Finally, the chapter argues that, despite these shortcomings, Merleau-Ponty’s account is still relevant today, for in his discussion of the phenomenon of synaesthesia he happens to identify a f

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44

Deroy, Ophelia. Sensory Blending: On Synaesthesia and Related Phenomena. Oxford University Press, 2017.

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45

Flach, Sabine, Jan Söffner, and Joerg Fingerhut. Habitus in Habitat III: Synaesthesia and Kinaesthetics. Lang AG International Academic Publishers, Peter, 2011.

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Deroy, Ophelia, ed. Sensory Blending. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199688289.001.0001.

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If synaesthesia is defined, as Cytowic once proposed, as a strange sensory blending, the category can include many other cases beyond the well-known colored-hearing and color-grapheme experiences. The extension of the category of synaesthesia to cases like mirror-touch, personification, crossmodal mappings, and drug experiences has helped produce a range of new evidence for the causes and prevalence of the condition. It also raises new questions regarding the unity of the synaesthetic label. The volume provides an overview of the varieties of sensory blending counted as ‘synaesthetic’, and dis

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47

Chare, Nicholas. After Francis Bacon: Synaesthesia and Sex in Paint. Taylor & Francis Group, 2017.

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48

Mirror-Touch Synaesthesia: Thresholds of Empathy with Art. Oxford University Press, 2017.

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Chare, Nicholas. After Francis Bacon: Synaesthesia and Sex in Paint. Taylor & Francis Group, 2016.

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50

Rossella Catanese, Francesca Scotto Lavina, Valentina Valente. From Sensation to Synaesthesia in Film and New Media. Cambridge Scholars Publishing, 2019.

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