engleski

Synaesthesia, Synthesis, and Aesthetics

By putting focus on synaesthesia an attempt has been made in this chapter not only to provide somewhat better understanding of the phenomenon, but also to show that it might have implications on our understanding of the nature of human mentality in general, and of aesthetic one specifically. Taking synaesthesia not as something unnatural, or even pathological, but as symptomatic of the way our mental world is structured, a perspective is opened towards better understanding of aesthetic processes (particularly of the relation among different art-forms), and of the nature of creativity in general. Many conceptions within aesthetics are ripe for reconsiderations ; many a stereotyped notion is in need of reconception. One of them is the habit of thought that, on the one hand, keeps different modes of expression (visual, auditory, tactual etc.) apart and, on the other hand, perceives art as isolated from other modes of creativity (e.g. science and technology). The lesson from synaesthesia is then by no means a trivial one: it strengthens the general assumption that the mind is not split or specialized, but is rather synthetic, blending all the various modes of experience, regardless of the kind of sensory data they are based upon.

aesthetics, synaesthesia, synthesis, perception, art, creativity, mind

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