142:. Here, letters of the alphabet are associated with vivid experiences of color. Studies have indicated that the perceived color is context-dependent and is determined by the extracted meaning of a stimulus. For example, an ambiguous stimulus '5' that can be interpreted either as 'S' or '5' will have the color associated with 'S' or with '5', depending on the context in which it is presented. If presented among numbers, it will be interpreted as '5' and will associate the respective color. If presented among letters, it will be interpreted as 'S' and will associate the respective synesthetic color.
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hypothesis, representations of sharp inflections in the star-shaped object would be physically connected to the representations of sharp inflection in the sound of Kiki. However, Gomez et al. have shown that Kiki/Bouba associations are much richer as either word and either image is associated semantically to a number of concepts such as white or black color, feminine vs. masculine, cold vs. hot, and others. These soundâshape associations seem to be related through a large overlap between
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the meaning that we assign to stimuli. Food description and wine tasting is another domain in which ideasthetic association between flavor and other modalities such as shape may play an important role. These semantic-like relations play a role in successful marketing; the name of a product should match its other characteristics.
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The concept of ideasthesia has been often discussed in relation to art, and also used to formulate a psychological theory of art. According to the theory, we consider something to be a piece of art when experiences induced by the piece are accurately balanced with semantics induced by the same piece.
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in children. Synesthetic children may associate concrete sensory-like experiences primarily to the abstract concepts that they have otherwise difficulties dealing with. Synesthesia may thus be used as a cognitive tool to cope with the abstractness of the learning materials imposed by the educational
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In another study, synesthetes were prompted to form novel synesthetic associations to graphemes never seen before. Synesthetes created those associations within minutes or seconds â which was time too short to account for creation of new physical connections between color representation and grapheme
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has shown that color information is available in the brain signal ~200 milliseconds later when accessed via synesthesia in comparison to direct color perception, which is consistent with conceptual mediation. The study supports the idea that synesthesia is a semantic phenomenon â i.e., ideasthesia.
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of the stimulus is what is important rather than its sensory properties. In other words, while synesthesia presumes that both the trigger (inducer) and the resulting experience (concurrent) are of sensory nature, ideasthesia presumes that only the resulting experience is of sensory nature while the
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of Kiki and star-shape on the one hand, and Bouba and round-shape on the other hand. For example, both Kiki and star-shape are clever, small, thin and nervous. This indicates that behind Kiki-Bouba effect lies a rich semantic network. In other words, our sensory experience is largely determined by
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Thus, a piece of art makes us both strongly think and strongly experience. Moreover, the two must be perfectly balanced such that the most salient stimulus or event is both the one that evokes strongest experiences (fear, joy, ... ) and strongest cognition (recall, memory, ...) â in other words,
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In pitch-color synesthesia, the same tone will be associated with different colors depending on how it has been named; do-sharp (i.e. di) will have colors similar to do (e.g., a reddish color) and re-flat (i.e. ra) will have color similar to that of re (e.g., yellowish), although the two classes
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phenomenon is a case of ideasthesia. Most people will agree that the star-shaped object on the left is named Kiki and the round one on the right Bouba. It has been assumed that these associations come from direct connections between visual and auditory cortices. For example, according to that
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There are synesthetic experiences that can occur just once in a lifetime, and are thus dubbed one-shot synesthesia. Investigation of such cases has indicated that such unique experiences typically occur when a synesthete is involved in an intensive mental and emotional activity such as making
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Another case of synesthesia is swimming-style synesthesia in which each swimming style is associated with a vivid experience of a color. These synesthetes do not need to perform the actual movements of a corresponding swimming style. To activate the concurrent experiences, it is sufficient to
270:. According to that theory, concepts are not an emergent property of highly developed, specialized neuronal networks in the brain, as is usually assumed; rather, concepts are proposed to be fundamental to the very adaptive principles by which living systems and the brain operate.
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letters that they had never seen before, and the meaning was acquired through a short writing exercise. The
Glagolitic graphemes inherited the colors of the corresponding Latin graphemes as soon as the Glagolitic graphemes acquired the new meaning.
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as its main tenet is that experience of art can only be individual, depending on person's unique knowledge, experiences and history. There could exist no general classification of art satisfactorily applicable to each and all individuals.
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system â referred to also as a "semantic vacuum hypothesis". This hypothesis explains why the most common inducers in synesthesia are graphemes and time units â both relating to the first truly abstract ideas that a child needs to master.
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L. Teichmann, T. Grootswagers, D. Moerel, T. A. Carlson, A. N. Rich. (2021) Temporal dissociation of neural activity underlying synesthetic and perceptual colors. Proceedings of the
National Academy of Sciences, 118 (6) e2020434118;
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De
Carolis, L., Marsico, E., Arnaud, V., & Coupé, C. (2018). Assessing sound symbolism: Investigating phonetic forms, visual shapes and letter fonts in an implicit bouba-kiki experimental paradigm. PLOS ONE, 13(12),
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Evidence for grapheme-color synesthesia comes also from the finding that colors can be flexibly associated to graphemes, as new meanings become assigned to those graphemes. In one study synesthetes were presented with
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evidence also points towards ideasthesia: in lexical-gustatory synesthesia, verbalisation of the stimulus is not necessary for the experience of concurrents. Instead, it is sufficient to activate the concept.
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Rapp, B., & Caramazza, A. (1997). From graphemes to abstract letter shapes: levels of representation in written spelling. Journal of experimental psychology: human perception and performance, 23(4),
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Mroczko-WÄ
sowicz, Aleksandra, and Markus
Werning. Synesthesia, sensory-motor contingency, and semantic emulation: how swimming style-color synesthesia challenges the traditional view of synesthesia.
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coactivation, or both, which would imply that the realtime experience is invoked at the synaptic level of analysis prior to establishment of novel wiring per se, a very intuitively appealing model.
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Which one would be called Bouba and which Kiki? Responses are highly consistent among people. This is an example of ideasthesia as the conceptualization of the stimulus plays an important role.
106:, the concept has developed into a theory of how we perceive. For example ideasthesia has been applied to the theory of art and could bear important implications in explaining human conscious
75:), meaning 'sensing concepts' or 'sensing ideas'. The notion was introduced by neuroscientist Danko NikoliÄ as an alternative explanation for a set of phenomena traditionally covered by
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MilĂĄn, Emilio GĂłmez, Oscar Iborra MartĂnez, and MarĂa JosĂ© de CĂłrdoba
Serrano. El Universo Kiki-Bouba: Ideaestesia, EmpatĂa y NeuromĂĄrketing. FundaciĂłn Internacional artecittĂ , 2014.
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Hoshi, H., Kwon, N., Akita, K., & Auracher, J. (2019). Semantic
Associations Dominate Over Perceptual Associations in VowelâSize Iconicity. i-Perception, 10(4), 2041669519861981.
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NikoliÄ D. (2016) Ideasthesia and art. In: Gsöllpointner, Katharina, et al. (eds.). 2016. Digital
Synesthesia. A Model for the Aesthetics of Digital Art. Berlin/Boston: De Gruyter (
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GĂłmez MilĂĄn, E., Iborra, O., de CĂłrdoba, M.J., JuĂĄrez-Ramos V., RodrĂguez
Artacho, M.A., Rubio, J.L. (2013) The Kiki-Bouba effect: A case of personification and ideaesthesia.
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Itoh, K., Sakata, H., Kwee, I. L., & Nakada, T. (2017). Musical pitch classes have rainbow hues in pitch class-color synesthesia. Scientific reports, 7(1), 17781.
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Chiou, R., Rich N.A. (2014) The role of conceptual knowledge in understanding synaesthesia: Evaluating contemporary findings from a âhub-and-spokeâperspective.
130:/ideasthesia. The months in a year are organized into a circle surrounding the synesthete's body, each month having a fixed location in space and a unique color.
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Bridger, D. (2015). Decoding the irrational consumer: How to commission, run and generate insights from neuromarketing research. Kogan Page
Publishers.
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Gsöllpointner, Katharina. "DIE KUNST DER SINNEâDIE SINNE DER KUNST." Exploring
Cybernetics: Kybernetik im interdisziplinÀren Diskurs (2015): 137-165.
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Kosowitz, S. (2022). Evaluating ideasthesia as a creative tool in compositional practice: A personal reflection on coloured hearing synesthesia.
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van Leeuwen, T. M., Singer, W., & NikoliÄ, D. (2015) The merit of synesthesia for consciousness research. Frontiers in psychology, 6, 1850.
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refer to the same tone. Similar semantic associations have been found between the acoustic characteristics of vowels and the notion of size.
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important plans for one's future or reflecting on one's life. It has been thus concluded that this is also a form of ideasthesia.
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representation areas in the brain, pointing again towards ideasthesia. Although the time course is consistent with postsynaptic
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Dixon, M.J., Smilek, D., Duffy, P.L., Zanna, P. M., Merikle, P. M. (2006) The Role of Meaning in Grapheme-Colour Synaesthesia,
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Research has later extended the concept to topics other than synesthesia, and since it turned out to be applicable to everyday
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activate the concept of a swimming style (e.g., by presenting a photograph of a swimmer or simply talking about swimming).
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Example of associations between graphemes and colors that are described more accurately as ideasthesia than as synesthesia
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meaning 'union of senses' implies the association of two sensory elements with little connection to the cognitive level,
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Shukla, A. (2016). The Kiki-Bouba paradigm: Where senses meet and greet. Indian Journal of Mental Health, 3(3), 240-252.
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Proceedings of the Third International Congress on Synaesthesia, Science & Art, Granada, Spain, April 26â29, 2009
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Curwen, C. (2018). Music-colour synaesthesia: Concept, context and qualia. Consciousness and Cognition, 61, 94-106.
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Prendergast, J. (2020). Ideasthetic imaginingâpatterns and deviations in affective immersion. New Writing, 1-19.
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Albertazzi, Liliana, et al. "The hue of anglesâwas Kandinsky right?." Art & Perception 3.1 (2015): 81-92.
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JĂŒrgens U.M., NikoliÄ D. (2012) Ideaesthesia: Conceptual processes assign similar colours to similar shapes.
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Mroczko A., T. Metzinger, W. Singer, D. NikoliÄ (2009) Immediate transfer of synesthesia to a novel inducer.
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Mroczko-WÄ
sowicz, A., NikoliÄ D. (2014) Semantic mechanisms may be responsible for developing synesthesia.
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NikoliÄ, D. (2009). "Is synaesthesia actually ideaesthesia? An inquiry into the nature of the phenomenon".
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NikoliÄ, D. (2015). Practopoiesis: Or how life fosters a mind. Journal of Theoretical Biology, 373, 40-61.
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Johnson, A. (2017). Hendrick ter Brugghen's Musicians and the Engagement of the Viewer. Temple University.
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Kirschner, A., & NikoliÄ, D. (2017). One-shot synesthesia. Translational Neuroscience, 8(1), 167-175.
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Ramachandran, VS & Hubbard, EM (2001) Synaesthesia: A window into perception, thought and language.
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Prendergast, J. (2022). Ideasthetic imagining: Writing as dream-membering. TEXT, 26(Special 68), 1-20.
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MÄrginaĆ, Raluca. "The Spurious Case of Synesthesia in the Popular Arts." Ekphrasis 1 (2012): 144-151.
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1477:Propositional attitude
1472:Problem of other minds
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1492:Understanding
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1417:Introspection
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1370:Consciousness
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1292:Phenomenology
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1287:Phenomenalism
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1280:
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1277:Occasionalism
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1250:NaĂŻve realism
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1240:Functionalism
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1182:Stephen Yablo
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1137:Richard Rorty
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1132:Hilary Putnam
1130:
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1107:Marvin Minsky
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1103:
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1082:Immanuel Kant
1080:
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1072:William James
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977:Henri Bergson
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886:YouTube video
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584:
583:BMC Neurology
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368:
367:Practopoiesis
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310:Consciousness
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268:practopoiesis
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161:NMDA receptor
158:
157:AMPA receptor
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51:
50:Ancient Greek
47:
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39:
35:
31:
23:
16:
1528: /
1524: /
1520: /
1437:Mental image
1432:Mental event
1395:Intelligence
1345:Chinese room
1191:
1142:Gilbert Ryle
1122:Derek Parfit
1112:Thomas Nagel
1042:Fred Dretske
962:J. L. Austin
934:Philosophers
891:
862:TED Ed video
836:
827:
818:
790:
781:
772:
763:
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745:
736:
727:
717:
708:
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695:
686:
681:8(12): 3â34.
678:
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473:
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444:42: 243-252.
441:
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349:Phantom limb
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236:
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205:
188:
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101:
83:
81:
34:ideaesthesia
33:
29:
28:
15:
1594:Synesthesia
1522:information
1513:Metaphysics
1487:Tabula rasa
1297:Physicalism
1282:Parallelism
1210:Behaviorism
1167:Michael Tye
1162:Alan Turing
1147:John Searle
1022:Dharmakirti
997:Tyler Burge
992:C. D. Broad
394:Synesthesia
84:synesthesia
77:synesthesia
30:Ideasthesia
1573:Categories
1558:Task Force
1526:perception
1400:Artificial
1350:Creativity
1272:Nondualism
1172:Vasubandhu
1092:John Locke
1062:David Hume
1017:Andy Clark
402:References
334:Perception
289:Aesthetics
251:aesthetics
208:Bouba/Kiki
148:Glagolitic
108:experience
104:perception
46:perception
1584:Cognition
1422:Intuition
1355:Cognition
1319:Solipsism
982:Ned Block
952:Armstrong
947:Aristotle
647:e0208874.
585:, 15:112.
563:3 (2012).
505:, 5: 105.
476:444: 438.
382:Sentience
361:Pictogram
244:aesthesia
136:graphemes
72:aĂsthÄsis
1543:Category
1390:Identity
1333:Concepts
1203:Theories
1187:Zhuangzi
1117:Alva Noë
425:44135322
282:See also
112:concepts
92:semantic
66:αጎÏΞηÏÎčÏ
42:concepts
1553:Project
1506:Related
1365:Concept
1220:Dualism
1193:more...
1052:Goldman
530:8:509.
36:) is a
1497:Zombie
1482:Qualia
490:Cortex
474:Nature
442:Cortex
423:
376:Qualia
82:While
63:) and
1405:Human
1127:Plato
1047:Fodor
722:1130.
421:S2CID
1530:self
1467:Pain
1457:Mind
1385:Idea
240:idea
166:For
60:idéa
54:ጰΎÎα
843:doi
532:doi
1575::
884:A
802:^
670:^
617:^
519:^
481:^
465:^
449:^
433:^
419:.
246:.
114:.
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