Friday, 29 May 2009
A short message to inform you about synesthesia activities in The Netherlands. The main source for projects about synesthesia in the arts and sciences is Synesthetics Netherlands. It contains a Dutch and an English portal to projects since the last eight years. See for instance the Netherlands Color Synesthesia Project by artist Clara Froger and scientist Cretien van Campen (English page at http://www.synesthesie.nl/necosyn_eng.htm). The archives of the newsletters SYN-NL contain even more art & science projects (if you read some Dutch or you may just check the included links): http://www.synesthesie.nl/newsletter.htm
Saturday, 16 May 2009
Synesthesia is a subject that fascinates, revealing surprising truths about the human condition. Though these truths often seem illogical, to many, they appear to be obvious; some feel they are part of human nature, a fundamental aspect of our being. One of the wonderful aspects of this subject is how it brings people together in discussion, art and research. This exchange and collaboration seem a necessary part of our social engagement with synesthesia; as synesthesia has to do with the mixing of the senses, it seems only sensible that it should carry with it a demand for cross-curricular and interdisciplinary activities.
Recently, having attended the Third International Conference on Synesthesia, Science and Art, in Granada, Spain, I was impressed with the various perspectives developing in this multidisciplinary subject, as well as the number of fascinating and enthusiastic people involved. Furthermore, the level at which I observed scientists and artists engaging and collaborating left me amazed. On the final morning of the conference I briskly walked towards El Parque de las Ciencias with Ed Hubbard, a prominent contemporary scientific researcher of synesthesia. Ed, an exacting neurologist, and I, an experimental artist, discussed some of the difficulties involved in the communication between artists and scientists. Science is often thought of as arrogant in the eyes of artists; though, the scientific conviction that is often misconstrued as arrogance is one of science's greatest strengths: science is driven by the uniquely human desire to seek out and understand truth -scientists recognise that self conviction is fundamental for establishing truths and know that this conviction must come from evidence. In science, blind faith is actively avoided; for this reason, they must create new terms to explain aspects of human experience from an agreed point of view so as to simulate an objective view for the experimentation and analysis that is needed to reach conclusions. Unfortunately these are often difficult for the general public to engage with. While this is true, artists create their own terminology, which they often prefer to be open, left to subjective interpretation, something which invites public engagement.
After our brief discussion I came away with the idea that, engrained in both science and art, due to the aims of each, there are particular and distinct ways of observing the world and therefore reflecting it, creating something like a cultural divide. Interestingly, we were also discussing this with the conference interpreter. As a result, the idea of interpreting and translating became a central point in our discussion. We acknowledged that artists and scientists are both engaged in endeavours to develop, understand, enhance and expand human experience, and that, for the different points of view to communicate more clearly it is necessary to recognise and understand the fields' linguistic and cultural differences. Although this is a rather simplistic way of viewing the situation, as it is clear that within both science and art there are many diverse cultures and languages, the recognition of this idea may encourage open cross-disciplinary dialogue.
In conclusion, the subject of synesthesia inspires artists as well as scientists. Therefore, a strong desire to bridge uncommonly bridged gaps in developing human experience and understanding exists. This allows for an opportunity to examine and interpret all human experience as something interconnected. Art has a lot to offer science in its way of illustrating human experience and can often make very difficult subjects more accessible. At the same time, science, with its continuous endeavour to know the unknown and explain the unexplained, will never cease to fascinate and inspire the minds of artists.
Ed Hubbard's Home Page: http://edhubbard.googlepages.com/home
Art Work by Timothy B Layden: www.tblayden.com
Friday, 15 May 2009
These two videos are the work of Max Hattler, who I believe has succesfully simulated synesthetic experience through sound, movement and shape in short video animations. Rather than say more on his work I suggest experiencing the videos and looking into his work at:
Monday, 4 May 2009
The Shape of sounds slideshow with sound and image of works in progress by Timothy B Layden
An analysis of synesthetic experience with visual and sonic art; searching out sounds in the environment and in music which hold within them strong colour, shape and movement. These are captured creating sound recordings. The recordings are edited into musical soundscapes while drawings document the colour, movement and shape of sounds. Once a sound compositions and their corresponding drawings are completed, mixed media paintings are developed on paper registering the texture and movement of the shapes of overall sound compositions. Finally a large scale series of paintings are being developed together to capture the overall spatial/colour/kinaesthetic environment of the sounds. See more at: http://www.tblayden.com/