Light is Loud A Sound Driven LED Suit

We approach performance as fundamentally a hybrid situ- ation: that performer and technology are united in a post- phenomenological embrace. Light is Loud takes this as a starting point: the form of the performer is subsumed into an array of lights that takes the temporal shape of a self- referential text. The loss of the human form in the piece be- comes a critical statement on the ambiguity of hybridity. In a completely darkened space, a figure with some strips of LEDs speaks a short poem overtly on the nature of “loud”. While the title of the piece, Light is Loud, suggests “daz- zling”, the effect is a meditation on the nature of quiet.

Exploring Implications of Synesthesia on Memory

This research proposal describes an original research procedure to study the effects of the neurological phenomenon of synesthesia (union of the senses) on memory. It provides supporting evidence as to how and why the proposed research fits into contemporary questions in the study of synesthesia

An aptitude for attitude neural bases of multisensory perception correlate to variations in human personality type

A synesthetic experience is characterized by the automatic stimulation of several divisions of cognitive processing by an inducer, followed by unique cognizance of an imagined object that incorporates multiple qualities. This study included participants who self-identified as synesthetes as well as those who did not report any subtype of synesthetic experience. Survey research included the Bergen questionnaire, and further identified personality traits using the Big Five Personality Inventory, Creative Experience evaluation, and Conscientiousness subscale. In order to conduct a comparative examination of self-reported personality qualities and synesthestisia type, Pearson's correlation and hierarchical regression analyses were utilized in multilevel liner analysis. Statistical comparisons revealed that Openness, and Industriousness are the strongest predictors of time-space synesthesia. Consistently frequent reporting of openness and industriousness by number-space synesthetes point to several advantages of multisensory perception. In view of the correlations between synesthesia and personality, there are implications for synesthesia research in monitoring neuropsychological health throughout human development

Синестезія як специфічна якість професійного алгоритму артиста мюзиклу

The purpose of the article is to reveal the specific features of the synaesthesia of the artist of musical as a creative ability, and its role in the implementation of the professional artistic process in the musical genre. Methodology of the study is transpersonal humanistic psychology and its musicological branches: psychology of art, psychology of the creative process and psychology of musical thinking. The analysis of cultural and aesthetic research devoted to the con- cept of "synaesthesia" is also used. Scientific novelty of the research consists in analyzing of the specificity of synaes- thesia as a projection of the intonational pitch on the professional algorithm of an artist of a musical, in analyzing the ability of the musical artist to synaesthesia as a special characteristic inherent in his/her creative apparatus and stipulated by his/her partial abilities. Conclusions of the research consist in substantiating of the understanding of the synesthesia of the artist of the musical as a special psychological and psychological characteristic of the professional creative process of the artist, which reveals the partial abilities of the artist and realizes the triune nature of his talent, acts as a harmoniza- tion mechanism of artistic expressive means within the character-image as well as a technique of achievement of the musical and intonational resonance of the character-image.Цель статьи – выявить специфические особенности синестезии артиста мюзикла как творческой способности и определить ее роль в осуществлении профессионального артистического процесса в жанре мюзикла. Методологию исследования составляет трансперсональная гуманистическая психология и ее музыковедческие ответвления: психология искусства, психология творческого процесса, психология музыкального мышления. Так- же используется анализ культурологических и эстетических исследований, посвященных понятию "синестезия". Научная новизна исследования состоит в анализе специфики синестезии как проекции интонационного слуха на профессиональный алгоритм артиста мюзикла, в анализе способности артиста мюзикла к синестезии как особой характеристике, присущей его творческому аппарату и продиктованной его парциальными способностями. Выводы исследования состоят в обосновании понимания синестезии артиста мюзикла как особой психической и психологической характеристики профессионального творческого процесса артиста, которая выявляет его пар- циальные способности и реализует триединую природу его таланта, выступает как механизм гармонизации художественных средств выразительности внутри роли-образа, а также как технологический прием достижения музыкально-интонационного резонанса роли-образа.Мета статті – виявити специфічні особливості синестезії артиста мюзиклу як творчої здібності та з’ясувати її роль у професійному артистичному процесі в жанрі мюзиклу. Методологію дослідження складає трансперсо- нальна гуманістична психологія та її музикознавчі відгалуження: психологія мистецтва, психологія творчого процесу, психологія музичного мислення. Також використано аналіз культурологічних та естетичних досліджень, присвячених поняттю "синестезія". Наукова новизна дослідження складається з аналізу специфіки синестезії як проекції інтонаційного слуху на професійний алгоритм артиста мюзиклу, в аналізі здатності артиста до синестезії як особливої характеристики, яка притаманна його творчому апарату та продиктована парціальними здібностями. Висновки дослідження становить обґрунтування розуміння синестезії артиста мюзиклу як особливої психічної та психологічної характеристики професійного творчого процесу артиста, який виявляє його парціальні здібності та реалізує триєдину природу таланту, виступає як механізм гармонізації художніх засобів виразності усередині ролі- образу, а також як технологічний засіб досягнення музично-інтонаційного резонансу ролі-образу

Spatial design thinking in the age of multimedia

There are several emerging design methods and design thoughts, such as Evidence-Based design, Universal design, and so on, that have been utilized in spatial design. Further, the space design has been changed in the wake of invention of new materials, building technologies, and users\u27 functional needs. Designers need to collect and reorganize a new spectrum of information in order to conduct design. Designer\u27s thinking power plays an important role in creating space. Base on the research results in the realm of human cognitive faculty, synesthesia may hold the key to understanding a mechanism for thinking, cross-sensory perception and association involved in artistic and spatial creation. In addition, multimedia is the acting edge tool to support design methods and design thinking. Mathematical model can also be used for explain space design generation and design thinking. As a result, Chaos theory and Mandelbrot Set can be used to support new spatial design thinking and design models. Finally, this study examines Prezi, a multimedia-based tool, to integrate design thinking and communication

A Trial of Improving Learnersʼ Phonetics Comprehension through Remote Teaching

In 2020, the spread of COVID-19 forced schools to adopt distance learning using multimedia technology. Universities provide online classes in order to avoid making students commute to school. For remote teaching, there are considerable choices in learning management systems adopted by schools and methods employed by teachers. Each approach has advantages and disadvantages, so a combination of those choices can bring multiplier effect. However, person-to-person communication plays a critical role particularly in language education. How do teachers survive this crisis? This paper makes suggestions about class activities by means of written information on a remote real-time lecture. It focuses on an English phonetics course which deals with pronunciation skills and aural information by minimum usage of a video meeting system. This paper also includes a survey of mental associations similar to synesthesia as an example of how to teach an abstract concept. The results are analyzed and observed to mention potentials of vowels. This paper also refers to the benefits of teaching online and on campus. Learnersʼ viewpoints collected through activities are mentioned throughout

Sensing synesthesia

Sensing Synesthesia is an exhibition of experiments, carried out through the medium of graphic design as an attempt to generate a synesthesiac experience by visualizing sound. Since many elements within the realms of sound and sight are relative, creating a genuine synesthesiac experience for a viewing audience proved challenging. To address this problem, I created visual elements that corresponded with personal convictions, emotions and proclamations and presented them in a way congruent to the sounds being heard. Through these experiments, I discovered the personal growth of myself: the sharpened skills as a graphic designer, initiated interest in hand-rendered type as well as graffiti art as a style. Furthermore, I aimed that the interrelated, impactful relationship between sight and sound we all encounter on a daily basis generates a deeper experience despite our level of awareness

Body and the senses in spatial experience: the implications of kinesthetic and synesthetic perceptions for design thinking

Human perception has long been a critical subject of design thinking. While various studies have stressed the link between thinking and acting, particularly in spatial experience, the term "design thinking" seems to disconnect conceptual thinking from physical expression or process. Spatial perception is multimodal and fundamentally bound to the body that is not a mere receptor of sensory stimuli but an active agent engaged with the perceivable environment. The body apprehends the experience in which one's kinesthetic engagement and knowledge play an essential role. Although design disciplines have integrated the abstract, metaphoric, and visual aspects of the body and its movement into conceptual thinking, studies have pointed out that design disciplines have emphasized visuality above the other sensory domains and heavily engaged with the perception of visual configurations, relying on the Gestalt principles. Gestalt psychology must be valued for its attention to a whole. However, the theories of design elements and principles over-empathizing such visuality posit the aesthetics of design mainly as visual value and understate other sensorial and perceptual aspects. Although the visual approach may provide a practical means to represent and communicate ideas, a design process heavily driven by visuality can exhibit weaknesses undermining certain aspects of spatial experience despite the complexity. Grounded in Merleau-Ponty's notion of multisensory perception, this article discusses the relationship between body awareness and spatial perception and its implication for design disciplines concerning built environments. Special attention is given to the concepts of kinesthetic and synesthetic phenomena known as multisensory and cross-sensory, respectively. This discussion integrates the corporeal and spatiotemporal realms of human experience into the discourse of kinesthetic and synesthetic perceptions. Based on the conceptual, theoretical, and precedent analyses, this article proposes three models for design thinking: Synesthetic Translation, Kinesthetic Resonance, and Kinesthetic Engagement. To discuss the concepts rooted in action-based perception and embodied cognition, this study borrows the neurological interpretation of haptic perception, interoception, and proprioception of space. This article suggests how consideration of the kinesthetic or synesthetic body can deepen and challenge the existing models of the perceptual aspects of environmental psychology adopted in design disciplines.Includes bibliographical references