Introduction :

I will try to sum up as best as possible my experiences, investigations and study of synesthesia, trying to justify the proposal of a mathematical model for synesthetic processes.

My approach to the study of synesthesia began when I was a student in the department of Fine Arts, in 1980, with the class Psychology of Art, specifically with the reading of the book The transformation of the arts by Gillo Dorfles, which presents its material in an interesting and, in a way, still current mode, but surprised me enough with his firm affirmation of the futility of pseudo-scientific studies about sound/color correspondences carried out by Souriau in 1947: “We cannot stop to affirm the point that observations and experiments of this class of ideas appear absolutely futile and lacking of all interest.”

Not being in agreement with that affirmation, of course, it awoke my interest in the study of the interrelations between the arts and synesthesia, which, in some way, had always been present inside me. This was precisely the main subject of the artistic experimental project called “Light, color and sound”. An approach to the synesthesia experience, it was an artistic scenographic project that searched for induced proprioceptive sensations through images, touch, and sound, as well as synesthetic reactions in other people. Curiously, children had more reactions, both of pleasure and displeasure.

At this time, I began to investigate the more psychological, rather than artistic, aspects, important, during these first years, for the development of the investigation in regard to the technical and synesthetic interrelationships between music and painting.

Previously, I had taken several courses in Psychology at the University of Granada (from 1979 to 1983). I must say that the decision to leave this major was, for me, very evident: I was not in agreement with the statements and educational focus that the teachers had. A new path and a very new science that outlined theories not in agreement; above all, for me, the theories of perception already then presented many gaps.

But I had some beginning basic and general notions, along with the memory of statements by Merleau Ponty regarding his Phenomenology of Perception, that I liked so much. "The body, upon retiring from the objective world, will drag the intentional threads that link it to [its] immediate context and will finally reveal [to] us, the percipient subject, as well as to the perceptual world . . . To be adapted intellectually to reality is to build that reality within one’s self." Therefore, there will be as many realities as persons, as many worlds perceived as persons there are.

I decided to propose other experimental visual art projects. A mere excuse to observe the population groups involved in Art (searching for coincidences) and to make a series of very basic statements for the investigation of synesthesia in: the Psychology of perception; Phenomenology; Programming; Neurolinguistics;. Systems of sensory representation; and Evolutionary psychology (assimilation, accommodation, and cognitive development).

Unfortunately, in 1989, I was diagnosed with otosclerosis. This necessitated a self-investigation into sound/ image/color synesthesias. It was then that I knew I always had this condition and other multiple synesthetic experiences related to space and sound.

With the help of a technician, I gathered sound sequences, from nature and from the city, that serve like visual models. Two models were presented to the public (in different Spanish cities): the sound and my visual translation. The surprising thing was that there existed a series of coincidences; that is to say, my technical sound assistant could see that my “eidetic” images induced by environmental sounds -those which he had gathered -- presented an almost exact similitude with what he saw the moment he was recording the sounds. But moreover, 10% of the people that listened first to the sound model, and later, viewed my “pictorial” representation, affirmed the agreement. These results surprised me, to the extent of necessitating outlining a deeper investigation, more in agreement with the psychology of art, neuroscience and cognitive psychology, along with the pure artistic experimentation.

For me, synesthesia had been revealed as a fundamental part in human cognitive and perceptual development. Analyzing my perceptual development, I remembered (and here I don't want to inspire pity) that, until the age of 10 years old, when I got my first eyeglasses, I didn’t see anything well. You can imagine that it was not until that age when I saw, for first time, a bird flying. My world was more sonorous than visual. Then, surely, I could reconfigure both sets of information, the auditory and the visual. This would perhaps explain why my form of hearing is more meticulous or polyphonic than that of other people. They said of me that I had a very good ear (which now is given the name perfect pitch).

The conclusions took me directly to studies of “ATTENTION”: unconscious collecting; creative conflict; the three phases of creativity. As long as there existed a crowd of psychological variables that escaped my control and which needed the collaboration of specialists, I decided to outline a physical and mathematical study of correlations between sound and light; that is to say, a study of the synesthetic category sound/color, outlining a mathematical model of possible correlations between both. Although there already existed previous studies of the correspondence between sound / color, maybe now, with recent advancements in physics, new technologies, and new theories, there might be something new to contribute.

With the aid of José Mª Jerónimo, electronic physicist, I begin to outline an investigation and first comparison:

• Is there some type of objective synesthetic relationship between the auditory receptors and sight?

• If so, can a lineal relationship be establish, or some other type, between audio frequencies and video such as one finds in the relation of intensity of sound with the brightness-contrast of visible radiation?

• Is there a correlation between frequency and intensity of sound, when considering pure audio tones?

• Are these possible relations to be found as genetically pre-established in the brain, by means of neuronal connections, or can they be acquired and/or boosted by means of a process of apprenticeship?

• Hypothesis of the preliminary experiments:
• For the first experiment carried out, we deduced in principle that the proportionate stimuli for the frequencies of the acoustic and visual stimuli are inversely proportional; that is, the greater the wave-length of acoustic stimulus corresponds to the smaller the wave-length of stimulus to sight. If this is correct, we can try to use relations between frequencies, using relations between the frequency of the acoustic wave and the temperature of the corresponding color.

According to Wien’s third law (the law of displacement), referring to the black body acting as a radiator, the wave-length corresponding to the peak of emission is a simple function of the absolute temperature. For λ � (wavelength) expressed in µm and T in Kelvin degrees, we have:

2900

peak −−− Τ

There are many objects with characteristics similar to those of the hypothetical "black body", and it is possible to manufacture an experiment very close to the theory, by means of a hollow sphere or with a tight cone, whose temperatures are uniform. If we apply the equation of the wave-length of the peak of solar radiation (to 6000K), we obtain the peak of emission at 0.5 µm, 500nm or 5000Å, a wave-length that is found in the visible spectrum.

Afterwards, we will place electrodes in specific cerebral nodes. We may then be able to argue as to what cerebral activity takes place in the areas corresponding to hearing and vision. Whether there is real synesthesia or not, and whether it coincides or not, between one individual and the next.

At the same time, I began my approach to other scientific investigations on synesthesia. Through the internet, including The Synesthesia List, I got access to the studies of other investigators and, more importantly, had a more clear idea of the reality of synesthesia, its categories and peculiarities. I discovered that I had always experienced various categories of synesthesia, like the word/color, sound/smell, sound/color, and sound/space, and many other involuntary physical (proprioceptive) reactions at certain moments with visual stimuli. They had always been there.

I found several interesting books and articles on neurology and cerebral development, finding coincidences with some of my conclusions. For example, Dr. John Eccles affirms: "perception depends on directed attention that activates a specific cortical area".

Among the factors that can modify the cerebral maps, the level of attention is one of the more and better known. Attention exerts a role of control in the processing of sensorial information.

But how to study the integration of cerebral information?

The answer is complicated, although with neuro-imaging techniques and newly developing experimental models that keep in mind the possibility of someone’s cerebral functions emerging from the interactions of different subcomponents, not only considering the properties of the neurons and their specific paths of connection, but also the properties of the network of the functional circuits, the transitory integration and dynamics of neuronal groups in tune, we could begin to answer this question.

These last 10 years have seen many scientific studies of the colour/grapheme category, one of the more common categories, according to the statistical studies carried out in United Stated and England. But there are some 50 categories, according to the last statistical studies, and this number can be raised still more, keeping in mind that there can exist acquired synesthesias, induced, natural/objective, associated, projected, multiple synesthesias or meta-synesthesias (synesthesias which induce other synesthesias).

Our current proposal is focused on all the synesthesia categories. We search for the possible physical correspondence between sensorial stimuli and perceived sensations – a correlation of mathematical values – and whether these values are perceived by the people that possess this condition

We needed to select the population groups. To facilitate this, we use the classifications of systems of sensorial representation studied in neuro-linguistic programs.

In the study of sensorial representation, it says that any experience that is stored has to represent by means of our senses, through three predominant modalities. -visual -auditory -synesthetic (and kinesthetic), smell and taste are consider within this.

Each representational system forms a network of three parts:

1.-input

2.-Process/representation

3 - Projecting (output|).

Moreover, there exists a series of formal patterns or strategies of channeled productions (ocular microbehaviors, tone of voice) that are keys to accessing these systems:

1º “Any event in a part of the biological or neurological systems of human beings will necessarily affect all the others parts of the system in some way. When the patterns of interaction between the parts of a system are identified, the effects that every one of the different parts of the system has on the others can be predicted and used.”

2º “In the human being, all channels (macro and micro) are a transformation of the neurological internal processes and, therefore, bear information on those processes.

People tend to use certain parts of their neurological system (sight, auditory, synesthetic) more than others. To detect what representational system is being used, an observer can pay attention to the language that it uses: verbs, adverbs and adjectives.

The study of the neuro-linguistic programming catalogues these types of language, as, for example:

Visual synesthetic ( perspective, soft, evident, warm, brilliant, irritated, shiny, image, sweet, ...)

Auditory

( speak, listen to, say, noisy, am silent about ) ...

and observes the movements of the eyes to know when we are recalling images (eyes upwards and to the left; hemisphere not dominant ); when we are building images (dominant hemisphere)... Eyes downwards and to the right (Kinesthetics / Synesthetics), when we access tactile and/or proprioceptive sensations or feelings.

Although this study is very interesting, really here synesthesia is not taken as an involuntary and irrational multi-sensorial reaction, a mixture of two or more senses, but it can serve as a starting point for the selection of subjects that potentially can experience synesthesia or who are labeled as synesthetes, towards beginning to trace the necessary data and verify the groups.

We attempt to create a mathematical model of the processes that take part in the propagation of the derived signals of sensorial stimuli as they relate to synesthesia, via the collection of data from a sample subject population. We will harvest selective data by means of stimulation and/or sensorial masking, using, among other things, techniques similar to those employed in electroencephalograms.

For manufacturing the model, keep in mind the interactions that can exist between the sensorial stimuli (Ei), the different perceived sensations (Ri) and the possible correspondences and interactions of the same (Mi). The physico-mathematical relations obtained have to be something that represents the existing correlation between the stimulus and the series of subjective sensations perceived and is applicable to different groups of the population that do or do not possess the condition of synesthesia.

The construction of the model tries to serve to support the different branches of the study of synesthesia and serve as a means for future investigations of the applications of new technologies towards improving sensorial values.

Titulo:"SINESTESIA SONIDO/IMAGEN/COLOR . –Propuesta para el estudio de un modelo matemático de procesos sinestésicos- UN PROYECTO INTERDISCIPLINAR".

(Aspectos antropológicos, sociológicos, artísticos, didáctico / psicológicos, neurocientíficos y tecnológicos)"-Introducción al resumen de los resultados obtenidos en la investigación y experiencia personal sinestésica y aproximación científica a sus aspectos físico-matemáticos.

ENGLISH VERSION

Title: "SYNESTHESIA SOUND/IMAGE/COLOR-Proposal for the study of a mathematical model of the processes synesthetics- an INTERDISCIPLINARY PROJECT".

(Anthropological sociological, artistic, didactic, psychological, neurocientífic and technological aspects) --Introduction to a summary of results obtained via investigation and personal synesthetic experiences, and a scientific approach to its physical and mathematical aspects.

SUMMARY: A brief description of an investigation derived and related to artistic work, where synesthesia is experienced in the sound/colour category, mainly, creating a central problem, and a search of synesthetics answers in other peoples investigations and products. Das The eidetic images induced by sound synesthetically, or pseudosynesthetically, of low, average and high intensity?

The results investigations made in these last ten years suggest that, at the base of our creativity, a certain synesthetic capacity lies that confirms, partly, the conclusions arrived at in my 1988 personal investigation. The mystery that is generated around this capacity takes us to the necessity for an interdisciplinary study, and its analysis to continuous reframing of approaches to these studies. The confusions that our cerebral activities experience in the global perception of the world, which have shot down the little that we know from the Aristotelian approach to the study of the senses, create other points of reflection regarding their importance in the beginning of human knowledge of the world or epistemology, like an aspect of existential philosophy. Here, we will reflect more between SYNESTHESIA and ART, from a more scientific than artistic plane, in attempt to make this investigation necessarily more interdisciplinary. Also, we look for the possible physical correspondence between light and sound waves (with the aid of experts in electronic physics), a correlation of mathematical values, and whether these values are perceived by the people who have this condition.

INTRODUCCIÓN

Ante todo, quiero agradecer públicamente la ayuda de Sean A. Day que, de manera desinteresada, se ha prestado a presentar mi conferencia.

Como siempre, encuentro su apoyo y se lo agradezco profundamente.

Intentaré resumir lo mejor posible mi experiencia, investigación y estudio sobre la sinestesia, pretendiendo justificar la propuesta de un modelo matemático de procesos sinestésicos.

Mi aproximación al estudio de la sinestesia, comenzó en la época de estudiante en la Facultad de Bellas Artes, años 80, con la asignatura de psicología del Arte, en concreto con la lectura del libro «El devenir de las Artes ».1959.- de Gillo Dorfles que aún encuentro interesante y en cierto modo actual, pero me sorprendió bastante su afirmación rotunda de la futilidad de los estudios pseudo científicos sobre las correspondencias sonido / color realizados por Souriau en 1947: « No podemos dejar de afirmar a proposito de esto que observaciones y experimentos de este orden de ideas nos parecen absolutamente fútiles y carentes de todo interés… » No estaba de acuerdo con aquella afirmación y, por supuesto, despertó mi interés por el estudio de la interrelación entre las Artes y la sinestesia que, de alguna manera, siempre había estado presente en mi.

Este fue precisamente el tema principal del proyecto artístico experimental denominado « Luz, color y sonido » (1988.Albacete-España)1. Un acercamiento a la experiencia sinestésica, un proyecto artístico escenográfico que busca inducir en otras personas sensaciones propioceptivas a través de la imagen, tacto, sonido, y quizás alguna reacción sinestésica. Curiosamente fueron los niños los que más reacciones tenían, de agrado y desagrado.

Visual sinestésico

( perspectiva, suave, evidente, cálido, brillante, irritado, lucir, imagen, dulce...)

Auditivo (hablar, escuchar, decir, ruidoso, silencio)...

y se observan los movimientos de los ojos para saber cuando se están recordando imágenes (ojos hacia arriba y a la izquierda (hemisferio no dominante); cuando se están construyendo imágenes (hemisferio dominante)... Ojos hacia abajo y a la derecha (K/Sinestésico) cuando accede a sensaciones táctiles y/o propioceptivas y a sus sensaciones o sentimientos.

Aunque este estudio es muy interesante, en realidad aquí la sinestesia no es tomada como tal (reacción multisensorial involuntaria e irracional, mezcla de dos o más sentidos) pero nos puede servir como punto de partida para la elección de sujetos que potencialmente pueden experimentar sinestesias o se denominan así mismo sinéstetas y comenzar el rastreo de datos necesarios y verificación de los grupos.