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The condition in which a sensory experience normally associated with one sensory system occurs when another sensory system is stimulated.



a phenomenon of perception, in which the impression corresponding to a given stimulus and specific to a given sensory organ is accompanied by an additional sensation or image, often one characteristic of another sensory mode. Typical examples of synesthesia are “color hearing” and aural experiences upon perceiving color. Synesthesia in no way indicates a perception disorder; the experience occurs in one form or other and to some degree in almost everybody. The types of synesthesia are differentiated primarily by the nature of the additional sensations that arise: visual (photisms), aural (phon-isms), gustatory, tactile, and so on. Synesthesia may be selective, affecting only individual impressions, or it may affect all sensations in some area.

A characteristic example of synesthesia is the perception of music by certain composers. It was such synesthetic perceptions that led Scriabin to the concept of “synthetic art,” in which musical tonalities would correspond to certain colors, for example, in the symphonic poem Prometheus: the Poem of Fire (1910). Synesthetic experiences are not identical for all people; for example, various color representations may be linked with a single tonality. The phenomenon of synesthesia is found in the “colored” experience of numbers, days of the week, and so on. There is no satisfactory theory of synesthesia.


Titchener, E. B. Uchebnik psikhologii, part 1. Moscow, 1914. Pages 162–65.
Kravkov, S. V. Vzaimodeistvie organov chuvstv. Moscow-Leningrad, 1948.
Luriia, A. R. Malen’kaia knizhka o bol’shoi pamiati. Moscow, 1968. Pages 15–19.
Velichkovskii, B. M., V. P. Zinchenko, and A. R. Luriia. Psikhologiia vospriiatiia. Moscow, 1973. Pages 54–58.


References in periodicals archive ?
The last independent variable was Group, a between-subjects variable, which had three levels: G1 (the participants with color-number synaesthesia, who performed the experiment four times with white numbers as target stimuli.
It provided the first genetic insight into synaesthesia, or crossing of the senses, where people experience sounds or written words as colours, or experience tastes, smells and shapes in linked combinations," he added.
More recently interest has been rekindled, especially since the publication of a study into synaesthesia by the American neurologist Richard Cytowic.
By the way, should you think I've been talking something brown, if you get my drift, then you've got synaesthesia.
The term synaesthesia suggests the joining of sensations derived from different sensory domains.
Scientists call my visual, emotional experience of numbers synaesthesia, a rare neurological mixing of the senses, which most commonly results in the ability to see alphabetical letters and/or numbers in colour.
Finally, the new discourse on synaesthesia must be considered against the background of a broad revaluation of the senses and their traditional hierarchy--particularly the modern supremacy of vision over audition, sight over sound.
Which media create optimal synaesthesia experience?
182) Kwon relates Hoffmann's ideal of instrumental music to the Platonic idea of a mirroring of universal nature by the subjective self Schopenhauer's emphasis on the need for the will to re establish the link between the world of appearances and a lost human capacity to interact with them is seen as an essential further step from the synaesthesia of the arts in early Romantic art towards Wagner's use of synthesis Wagner thus evokes through 'Gesamtkunstwerke, the totality of a universe in relationship to man.
The only other harmless genetic condition passed down in the same way is synaesthesia - hearing in colour.
First performed at the Stockton International Riverside Festival, the multi-media installation, Blue And Beyond - Synaesthesia, is back in the region, at Newcastle's Gulbenkian Studio tonight.
He sees these as revolving around the concepts of synaesthesia and similarity: the former (particularly dear to late-nineteenth-century symbolist aesthetics) represents a "tendency for an input in one sensory mode to excite an involuntary response in another" (p.