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One interesting aspect of vision is the occasional borderline overlap between contrasting sensory perceptions. For instance, we often find transmodal bridges, transitions and interactions between vision and hearing – a perceptual phenomenon known as synaesthesia. Synaesthesia may evoke certain qualities and meanings, simultaneously or in succession: Some humans may see a colour while hearing a particular word; others may hear a specific tone when viewing the colour blue, a plethera of other combinatorial sensory assocations also exist. Synaesthesia resembles this transfer of sensoric qualities and meanings within perceptual modalities of art, music and poetry. Neuroscientific visual imaging has posited certain areas in the brain where this rare mixing of senses may take place. Sound symbolisms and synaesthetic comparisons are widespread throughout literature. Several sensory modalities share qualities such as intensity, brightness or acoustically associated meanings. In this way, methaphors can be relatively freely transmitted between the senses. The Romantic poets interpreted synaesthetic perceptions as borderlines of the senses and described them as transitions between the single faculties of art. They were evidently very interested in these associations. This was different from the reflections of poets of the 18th century, who were interested in the diversities of the faculties of art such as painting, music, poetry. Synaesthesia happens through synchronous combination and concatenation of one sense modality with several other sense modi. This essay proceeds in six steps: It shows how the cooperation of synaesthetic qualia with hidden and multiple meanings has always played a major role for the inner qualities of a picture of art.
Synesthesia is a fascinating phenomenon which has captured the imagination of scientists and artists alike. This title brings together a broad body of knowledge about this condition into one definitive state-of-the-art handbook.
Vol. 49, no. 4, pt. 2 (July 1952) is the association's Publication manual.
Blindness has always fascinated those who can see. Although modern imaginative portrayals of the sightless experience are increasingly positive, the affirmative elements of these renderings are inevitably tempered and problematized by the visual predilections of the artists undertaking them. This book explores a variety of the (dis)continuities between depictions of the sightless experience of beauty by sighted artists and the lived aesthetic experiences of blind people. It does so by pressing a radical interdisciplinary reinterpretation of celebrated dramatic portrayals of blindness into service as a tool with which to probe the boundaries of the capacities of the sighted imagination while exploring the sensory detriment of our visually fixated notions of beauty. Works by J. M. Synge, W. B. Yeats, and Brian Friel are explored as a means of crafting a workable and innovative medium of theoretical and experiential exchange between the disciplines of literature, aesthetics, and disability studies. In addition to appraising previously unexamined aspects of the work of three of Ireland's most celebrated modern dramatists, this book considers the consequences for blind people of the exclusionary and prohibitive elements of traditional aesthetic theory and art education. The insights yielded will be of value to those with an interest in modern literature, differential aesthetics, visual culture, perception, and the experience of blindness.
Synesthesia is a fascinating phenomenon which has captured the imagination of scientists and artists alike. This title brings together a broad body of knowledge about this condition into one definitive state-of-the-art handbook.
Synaesthesia is a strange sensory blending: synaesthetes report experiences of colours or tastes associated with particular sounds or words. This volume presents new essays by scientists and philosophers exploring what such cases can tell us about the nature of perception and its boundaries with illusion and imagination.
An investigation of the effects of blindness and other types of visual deficit on cognitive abilities. Can a blind person see? The very idea seems paradoxical. And yet, if we conceive of "seeing" as the ability to generate internal mental representations that may contain visual details, the idea of blind vision becomes a concept subject to investigation. In this book, Zaira Cattaneo and Tomaso Vecchi examine the effects of blindness and other types of visual deficit on the development and functioning of the human cognitive system. Drawing on behavioral and neurophysiological data, Cattaneo and Vecchi analyze research on mental imagery, spatial cognition, and compensatory mechanisms at the sensorial, cognitive, and cortical levels in individuals with complete or profound visual impairment. They find that our brain does not need our eyes to "see." Cattaneo and Vecchi address critical questions of broad importance: the relationship of visual perception to imagery and working memory and the extent to which mental imagery depends on normal vision; the functional and neural relationships between vision and the other senses; the specific aspects of the visual experience that are crucial to cognitive development or specific cognitive mechanisms; and the extraordinary plasticity of the brain—as illustrated by the way that, in the blind, the visual cortex may be reorganized to support other perceptual or cognitive funtions. In the absence of vision, the other senses work as functional substitutes and are often improved. With Blind Vision, Cattaneo and Vecchi take on the "tyranny of the visual," pointing to the importance of the other senses in cognition.