Made available in DSpace on 2014-06-11T19:24:03Z (GMT). No. of bitstreams: 0 Previous issue date: 2005-03-09Bitstream added on 2014-06-13T18:51:30Z : No. of bitstreams: 1 zatiti_vhg_me_bauru.pdf: 1888507 bytes, checksum: 44385f6fe70b820a06b4292694574e31 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Partindo da premissa de que o homem é um ser de percepção e comunicação sinestésicas, procede-se a uma investigação que visa a tangenciar os mais diversos aspectos da sinestesiologia - termo cunhado para, neste trabalho de pesquisa, designar o estudo da sinestesia como um dos princípios de comunicação, de modo abrangente. Os escritos de C. S. Peirce, em diálogo com outras áreas do conhecimento, destacando-se entre elas a comunicação, a biologia e as neurociências, portam-se como as principais bases para a fundamentação teórica das hipóteses e proposições formuladas sobre o fenômeno da sinestesia, como aqui esse tema foi tratado. Mediante um método lógico-hipotético, respaldado na visão pragmática peirceana, tecem-se conjecturas e inferências, que, embora lógicas, não têm o objetivo de postular, mas de oferecer novas considerações sobre a sinestesiologia, de modo a contribuir, cientificamente, para a amplitude investigativa desse tema. O homem, sinesteta em sua protopercepção, submete seus sentidos a um condicionamento cultural, processo que implica em mudança de hábitos e aquisição de novos hábitos. Conforme, porém, a doutrina sinequista, pela regência da lei da continuidade, defende-se aqui a potencialidade da percepção sinestésica, que, embora, em um estado anestésico, permanece vívida sob as espessas camadas da habituação. Entendese, portanto, que a percepção sinestésica original pode ser resgatada, não apenas pela sua latência no continuum da consciência, mas pela concepção de mente como matéria dotada de arbitrariedade e variabilidade... / Departing from the standing point that man is a synesthetic perception and communication oriented being, we proceed a investigation that aims to deal with the most diverse aspects of synesthesiology - a term coined in this research paper to designate the study of synesthesia as one of the communication principles, in a comprehensive way. The works of C. S. Peirce, in a dialogue with other fields of knowledge, focusing among them communication, biology and neural-sciences, present themselves as the main basis for the theoretical foundations of the hypotheses and propositions formulated about the synesthesia phenomenon, as this theme has been treated herein. By means of a logical/hypothetical method, supported by the pragmatic peircean view, we have woven conjectures and inferences that, although logical, do not aim to postulate, but rather to offer new considerations about synesthesiology, so as to scientifically contribute to the investigative extent of that theme. The synesthetic man in his proto-perception submits his senses to a cultural conditioning, a process that implies a change of habits and the acquisition of new ones. However, according to the synechist doctrine, by means of the ruling of the continuity law, we defend herein the potentiality of synesthetic perception that, although, in an anesthetic state, remains vivid under the thick layers of habit. It is understood, therefore, that the original synesthetic perception may be rescued, not only because of its latency in the continuum of conscience, but also because of the conception of mind as a matter provided with arbitrariness and variability... (Complete abstract, click electronic address below)

Some people experience music as colourful patterns or feel it as a physical touch, they have synesthesia. A neurological condition in which a stimulus of one sense automatically and involuntarily triggers a sensation in another sense. This shows that perception is not normative. The aim of this work is to try to develop an understanding of this phenomenon by using textile dyeing and patchwork as a tool for my investigation of it. Another aim is to raise awareness and try to see if it is possible for a non synesthete to experience something similar to the complex intersensory connections as those with synesthesia have. The sum of all perceptions of a human, after it has been processed by their own mind, can result in something that is not just the sum of each individual perception, but something that can at the end be quite different from what  might be expected. This motivated the title, and furthermore leads naturally into the Gestalt theory of perception, which is used as the major theoretical framework for this paper.

This paper examines the processes, materials, and influences of Karina Presttun, an artist who explores building abstract sculptures with twine made from second-hand fabrics. She discusses how her work aims to share emotions and visual experiences that do not translate well into text and how she has been inspired by fiber artists, basket makers, and music. She also reflects on the spiritual importance of craftsmanship, the risk of the academization of art, and using discarded materials to bring attention to the environmental impact of textile production. / <p>4 images removed: </p><p>Image 7.  Patford, Gemma (design), DIY Rope Bowl [vessel made from hand-painted rope], 2013, https://collectivegen.com/2013/07/diy-rope-bowl/, accessed 21 February 2023.</p><p><strong>Direct image link: https://collectivegen.com/wp-content/uploads/2013/07/diy-rope-bowl-a-pair-and-a-spare-201-778x519.jpg</strong></p><p>---</p><p>Image 19. Hopkins, Jan, Comtemplation, [sculpture made from agave leaves, yellow cedar bark &amp; waxed linen], private collection, 2004, http://janhopkinsart.blogspot.com/p/fade-to-light-dimensions-19-12x14x9.html, accessed 21 February 2023.</p><p><strong>Direct image link: http://4.bp.blogspot.com/-oL_xzFstShg/UG9iiS-MNlI/AAAAAAAACIo/H_AgdTOeeQ0/s1600/contemplation_front_www.jpg</strong></p><p></p><p>Image 20. Grey, Alex, Dissectional Art for Tool’s Lateralus CD [ink on paper &amp; acrylic on acetate], 2001, https://www.alexgrey.com/art/tool/dissectional-art-for-tools-lateralus-cd, accessed 21 February 2023.</p><p><strong>Direct image link: https://www.alexgrey.com/art-images/tool-dissectional-alex-grey-watermarked.jpg</strong></p><p>---</p><p>Image 22. Jacobs, Ferne, Figure/Head, [object made from coiled and twined waxed linen thread], 2020, https://www.craftinamerica.org/blog/building-the-essentials-ferne-jacobs-4-2-2022-6-18-2022/, accessed 21 February 2</p><p><strong>Direct image link: https://www.craftinamerica.org/wp-content/uploads/2022/04/IMG_5016edit.jpg</strong></p><p></p>

The structural and functional differences observed in the brains of adults with synaesthesia is thought to arise, at least in part, from less-than-normal neural pruning of the exuberant connections present within and among sensory cortical areas in infancy (reviewed in Maurer, Gibson, & Spector, 2013). This hypothesis is supported by previous work that has demonstrated that synaesthetes are superior at processing foreign speech sounds and inverted faces (Maurer et al., in prep). The present study investigated a link between spatial frequency and face processing in adults with synaesthesia by testing synaesthetes and non-synaesthetes on their ability to discriminate upright and inverted faces filtered at high and low spatial frequencies. As predicted, synaesthetes (n=20) were significantly more accurate than non-synaesthetes (n=20) at discriminating among inverted full spectrum faces (p=0.0235), with no differences in upright faces, replicating previous findings that support the hypothesis that synaesthetes undergo less perceptual attunement (Ghloum et al., 2013). Unexpectedly, synaesthetes were faster at responding across all face conditions. Faster reaction times with no sacrifice to accuracy suggest that synaesthetes may be processing faces more efficiently. In addition, no significant differences in accuracy were observed for high and low filtered faces at any orientation between synaesthetes and non-synaesthetes. Future studies could further explore the basis of synaesthete’s face processing advantages by using eye movements and a narrow-band noise-masking paradigm. / Thesis / Master of Science (MSc)

In this thesis the usage of smell as a medium enhancing synesthetic perception is discussed. Common cross-sensory connections and their relevance for interaction design are examined. The research is based on discoveries made in psychology, cognitive science and philosophy. Smell usage in a cross-modal context is believed to enhance engagement and enrichen the interactive experience. In several experiments a correlation between the perception of color shape and smell could be detected. An approach to include synesthetic mappings in interaction design is introduced, analyzed and discussed. Finally, the cross-modal interactive art installation “The Color of Smell” is presented.

Grapheme-color synesthesia, wherein achromatic graphemes are experienced as chromatic, presents insights into how the brain integrates subjective experiences. The neural correlates of grapheme-color synesthesia are highly debated, with the field full of inconsistent results. To compile the existing functional magnetic resonance imaging literature on grapheme-color synesthesia, the present thesis combined a systematic review with two coordinate-based Activation Likelihood Estimation meta-analyses. Two separate analyses were conducted to see whether investigating synesthesia through chromatic stimuli and incongruency effects would lead to the same activation patterns as investigating it through achromatic stimuli. Therefore, the main analysis included ten studies and more heterogeneity through chromatic stimuli, while the strict analysis had five studies but only achromatic stimuli and thus less heterogeneity. These analyses found convergent activation in the parietal lobe in the main analysis and the frontal lobe in the strict analysis. Although only limited interpretations of the results can be made, the present meta-analyses provided insights into the current state of research on grapheme-color synesthesia. Because the lack of comparability and methodological consensus in the field of synesthesia is evident, further research efforts are encouraged for the field to reach a state where truly convergent findings can be detected.

Den här uppsatsen undersöker hur språket kan hjälpa att beskriva den kvalitet hos en produkt som utgör dess identitet, det som ligger inbäddat i formspråk och det en designer gör när hen ger form. För detta har jag tagit avstamp i forskning kring de neurologiska fenomenen synestesi och ideastesi vilka hjälper oss översätta abstrakta koncept sinnen emellan. Mot bakgrund av detta har jag genomfört en undersökning i användande av personliga egenskaper för att beskriva färg samt form och sedan använt datan för att beskriva tre olika designföretags formgivning. Jag har funnit att det här språket inte går att göra objektivt, som en kan använda för att stoppa in data och få ut en färdig produkt, där form a plus färg b är lika med respons c, utan att det krävs en designer som tar subjektiva beslut för att fånga upp de små detaljerna. Samtidigt har jag kunnat se att det verbala språket är en riktigt bra grund för mig som designer att tänka över mina formbeslut och göra mig klarsynt i min process. / This paper investigates how language can help describe the quality within a product that make up it's identity, what's embedded in design aesthetics and what designers do when they give shape to objects. For this I have looked into research in the neurological phenomena synesthesia and ideasthesia which help us translate abstract concepts between our different senses. With this in mind, I have conducted a test in using personal traits to describe colors and shapes, later using the data to to describe three different design companies' design aesthetics. What I've found is that this language can't be objective and therefore cannot be used as a way of putting data in to get a finished product, where shape a plus color b equals response c. All without requiring a designer to make subjective decisions to make sure the tiny details and nuances get picked up. At the same time I've realized that this language is a good foundation for me, as a designer, to stand on and use to reflect on my decisions and give me clarity in my process.

There is an in-between space during the act of seeing. The in-between space lies on the spectrum of the reality in front of us and what our brain tells us. It is within this suspended moment an individual can experience an unaltered and unaffected vision. While this moment is fleeting, it defines the highest peak of personal experience. It is my belief no two people will ever experience the same vision during this suspended time. And after it passes, the sigh/vision can never be the same. We are constantly bearing witness to the inexpressive, and this fleeting moment is something in which we should all revel.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-07-27T12:24:46Z No. of bitstreams: 1 Juliana Garzillo Cavalcanti.pdf: 2275954 bytes, checksum: d3e546f0144d916c226dd77d5290b8da (MD5) / Made available in DSpace on 2017-07-27T12:24:46Z (GMT). No. of bitstreams: 1 Juliana Garzillo Cavalcanti.pdf: 2275954 bytes, checksum: d3e546f0144d916c226dd77d5290b8da (MD5) Previous issue date: 2017-06-23 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / This study analyses the borderline zone that 77 Million Paintings, from Brian Eno (United Kingdom, 1948), is in. The art work presents itself in different platforms: software, DVD, audiovisual installation and urban art. The research focuses on reading the work’s poetics that are addressed in spaces in between different languages, senses and technologies. The art work is built with a recombinant language system which makes images and sound montages in different platforms. 77 Million Paintings is presented in various countries between the years 2006 and 2016. The study analyses the poetics and communication process and the sensual stimulus as well. A reflection is made about the choices and path made by Brian Eno in the creation of this art work. Been present in the experimental and popular worlds, the artist’s involvement with music contaminates his creation in another fields. It is possible to recognize music traces in the image language from 77 Million Paintings, and the opposite can be observed too, when the image contaminates sound as well. The analysis is constructed through the extremities way method, from Christine Mello (2016). The identification of the poetics procedures of deconstruction and contamination forms the study of the blurred borderlines between the worlds of Brian Eno and 77 Million Paintings. About the contamination between different senses, Sérgio Basbaum (2002) ideas are used in the reading of the synesthesia’s work. To the analysis about the emergent system of the art work, Bill Seaman (2010) gives basis to the reflection about 77 Million Paintings software and it’s aesthetic results / O presente estudo analisa a zona fronteiriça em que 77 Million Paintings, de Brian Eno (Reino Unido, 1948), está inserida. Este trabalho artístico se apresenta em diferentes plataformas: software, DVD, instalação audiovisual e intervenção urbana. A pesquisa tem como foco a leitura das poéticas da obra, que se insere em espaços intersticiais de diferentes linguagens, estesias e tecnologias. A proposta artística se forma através de um sistema de linguagem recombinatória que realiza montagens de imagens e sons em diferentes plataformas. 77 Million Paintings foi apresentada em diversos países entre 2006 e 2016. Analisam-se as poéticas e os processos comunicacionais nos estímulos sensoriais proporcionados pelo software, bem como é realizada uma reflexão a respeito das escolhas e caminhos poéticos feitos por Brian Eno na criação dessa obra. Com presença no mundo experimental e popular, o forte envolvimento do artista com a música contamina sua criação em outros campos. É possível reconhecer traços do campo musical na linguagem imagética de 77 Million Paintings, assim como o contrário, quando o campo da imagem contamina a linguagem sonora. A análise é construída através do caminho de leitura das extremidades, proposta por Christine Mello (2016). A identificação dos procedimentos poéticos de desconstrução e contaminação embasam o estudo das relações de fronteiras borradas dos mundos de Brian Eno e 77 Million Paintings. No desenvolvimento a respeito das contaminações entre os sentidos, as ideias de Sérgio Basbaum (2002) respaldam a leitura das sinestesias presentes no trabalho artístico. Para a leitura sobre o sistema de comportamento emergente da proposição artística, Bill Seaman (2010) dá embasamento à reflexão sobre o software 77 Million Paintings e seus desdobramentos estéticos

Made available in DSpace on 2016-04-26T18:14:47Z (GMT). No. of bitstreams: 1 Claudio Henrique Brant Campos.pdf: 4570903 bytes, checksum: 7c39a789b22ebd7dbf1a62278f299758 (MD5) Previous issue date: 2014-12-12 / The imagination of music: from the technical images until the aesthetics of the digital audiovisual. Based on the observation that computer images produced today approach the dimension of time-based media, such as music, this research investigates the relationship between the audiovisual synesthesia, analyzing an example in digital processing, in the figure of the VJ (video-jockey in neologism): mixer of images and remixing of sounds in samples for live performances. It was verify that the ways perception is processed in the digital environment of miscegenation, by the amount and the remixing. This thesis introduces the hypothesis that our object suggests a synesthesia that expands to other systems such as tactile, forming a rhythmic cinema and motorized, influence by video clips, but in a digital platform, which simulates a complementary synesthetics or a translation by rhythmic counterpoint. The thesis also asks how the structural elements can reverberate a stunted aesthetic, revealing them in a diluted form. Thus, the object finds the elements of an aesthetics of the inaccurate and paradoxical, described by H. J. Koellreutter, constructivist without hierarchy and presenting fields or atmospheres, complementary dualities as pointillism versus lines and density versus rarefaction. On the other hand, this object finds anew the example of the aesthetic of the Baroque in pursuit of constant change and folds in its metonymic material, searching for the playful as a commitment to language codes, the audible-tactile-visual textures. One last specific question relates to the concept of expanded cinema, of Gene Youngblood, and how it can be inferred from our audiovisual object. We rely on this author, to investigate aspects of synesthesia, synergy, complementarity of opposites, inventive spirit (aesthetic), the automated computing environment, as well as aspects of a final overcoming of the opposition between art and entertainment. This thesis is devoted to ancient, anthropological and aesthetic process issues of the variation. For this reason, it is investigated elements of our present, aesthetically diluted by history, that correspond to ancient techniques of composing images-sounds. A path is followed from the first songs of call and response of all popular music and of the European Middle Ages, up to the synthesized loops created by todays software. By referring to Baroque styles, we complained to our object of study of the neo-baroque aesthetics, conceptualized according to Haroldo de Campos and Severo Sarduy. By incorporating the aesthetic of the second half of the 20th century, this object transcends the notions of authorship, work, representation, like expanded cinema / A imaginação da música: das imagens técnicas às estéticas do audiovisual digital. Partindo da constatação de que as imagens computacionais produzidas atualmente se aproximam da dimensão das mídias baseadas no tempo, como a música, esta pesquisa averigua a relação de sinestesia no audiovisual, analisando um exemplo em processamento digital, na figura do VJ (do neologismo video-jocker): mixador de imagens e ou com mixador de sons, em recortes, para apresentações ao vivo. Verificamos como as maneiras de perceber se processam no ambiente digital da miscigenação, da quantidade e do recorte. Trazemos a hipótese de que nosso objeto sugere uma sinestesia que se amplia para outros sistemas como o tátil, num cinema rítmico e motovisual, de influência do videoclipe, mas numa plataforma digital, em que se simula uma complementaridade sinestésica ou uma tradução por contraponto rítmico. Perguntamos também como os elementos estruturais podem reverberar estéticas pregressas, revelando-as, de forma diluída. Assim, nosso exemplo reencontraria os elementos de uma estética do impreciso e do paradoxal descrita a partir de H.J.Koellreutter , na sua estruturação sem hierarquia e construtivista de obra aberta e de campos ou atmosferas, dualidades complementares como pontilhismo versus linhas e densidade versus rarefação; por outro lado, esse exemplo reencontraria as estéticas do barroco, na busca da variação constante e em dobras de seu material metonímico, busca do lúdico como compromisso de linguagem em códigos, das texturas sonoro-tateis-visuais. Uma última questão específica se refere ao conceito de cinema expandido, de Gene Youngblood, e como ele pode ser depreendido de nosso objeto audiovisual. Baseamo-nos neste autor, para investigar aspectos de sinestesia, sinergia, complementaridade de opostos, espírito inventivo (estético), no ambiente automatizado da informática, bem como aspectos de uma superação final da oposição entre arte e entretenimento. Nosso estudo se dedica à questão milenar, antropológica e estética dos processos da variação. Por esta razão, investiga os elementos de nossa atualidade, diluídos esteticamente pela história, que corresponderiam a antigas técnicas de compor imagens-sons. Traçamos um caminho desde as primeiras canções em tema e resposta, de toda música popular e do medievo europeu, até os loops sintetizados dos softwares de criação dos dias de hoje. Por remeterem aos estilos barrocos, reclamamos para nosso objeto de estudo uma estética do neobarroco, conforme a conceituam Haroldo de Campos e Severo Sarduy; e por corporificarem as estéticas da segunda metade do século 20, sugerimos que nosso objeto transcende as noções de autoria, de obra, de representação, como um cinema expandido