The Development of a Scientific Understanding of Synesthesia from Early Case Studies (1849–1873)

The first case of synesthesia was reported in 1812 (Jewanski, Day, & Ward, 2009 Jewanski, J, Day, SA and Ward, J. 2009. A colorful albino: The first documented case of synesthesia, by Georg Tobias Ludwig Sachs in 1812. Journal of the History of the Neurosciences, 18: 293–303. [Taylor & Francis Online], [Web of Science ®] , [Google Scholar]). However, it took almost seven decades before the idea of synesthesia entered the mainstream of science and, subsequently, art. There are no known new cases described between 1812 and 1848, but in the following three decades there are at least 11 reported cases of synesthesia and many reviews of these cases. This comes at an important period in the history of the neurosciences, and for sensory physiology in particular. However, the literature that describes synesthesia during this period is largely unknown to contemporary researchers and historians. The aim of this review is to discuss the reports of synesthesia during this period, providing translations of some key passages, and to place these reports within the contextual framework of nineteenth-century neuroscience.     

The artist’s resale right revisited: a new perspective

This paper revisits the debate concerning the legal provisions of the artist’s resale right with the aim of providing some new perspectives. Using recently released empirical studies, the paper argues that while resale right payments may be concentrated on established artists in value terms, small amounts will be paid to a large number of relatively unknown artists, particularly in the European market where lower value transactions are large in number. By drawing on the non‐economic literature on pricing art in the primary art market, the paper suggests the rationales of the resale right, often seen as invalid in the past, may actually be valid. Art dealers will be faced with complex economic impacts as the resale right is legislated.     

Anton Raederscheidt’s Distorted Self-Portraits and Their Significance for Understanding Balance in Art

Following a right cerebral stroke, the German artist Anton Raederscheidt produced a remarkable series of self-portraits that depicted his severe visual neglect and gradual recovery. These distorted images, like those drawn by others with this disorder, inform us about lateral balance in art and why it is common in the art of cultures separated in time and space. After describing how artists in various cultures have employed lateral balance, I present Arnheim’s view that this aspect of art is the result of visual forces generated by the brain. Following a brief history of visual neglect, I present evidence that this disorder provides us with clues to the origin of the visual forces responsible for lateral balance in art. The relevant brain mechanisms control exploration of visual space by integrating orienting movements with visual spatial information. The prevalence of lateral balance in art becomes understandable when we consider that these brain mechanisms evolved to promote survival in our vertebrate ancestors. I end with a speculative neurological account of the aesthetics of lateral balance – why it is pleasing and its absence is displeasing.     

Théodore Flournoy on synesthetic personification

In 1893, Théodore Flournoy published a landmark book on synesthesia — Des phénomènes de synopsie [Of Synoptic Phenomena]. The book presented a pioneering chapter on synesthetic personification, including numerous striking case examples, and it is frequently cited by twenty-first-century researchers as providing some of the earliest examples of the phenomenon. Flournoy employed a broad definition of personification — the representation of stimuli as concrete and specific individuals or inanimate objects. This definition encompassed a more extensive set of phenomena than the definition used by researchers today and was illustrated by cases that would fall outside of contemporary subtypes of synesthetic personification. Yet, Flournoy’s seminal work remains unavailable in English, and the extent of the phenomenon that he described has not been discussed in the contemporary literature. We provide an unabridged translation of Flournoy’s chapter “Des personnifications” [“Of Personifications”].     

From A Paleolithic Art to Pleistocene Visual Cultures (Introduction to two Special Issues on ‘Advances in the Study of Pleistocene Imagery and Symbol Use’)

This paper serves as an introduction to two special issues on advances in the method and theory of Pleistocene imagery and symbol use. In order to contextualize the contributions that comprise these two issues, this paper defines the temporal and geographic scope of Pleistocene imagery, outlines the contexts in which the images are found, briefly reviews the history of interpretation of the images and discusses some of the current trends and future directions of the field.     

The question of national identity and the institutionalisation of the visual arts in Grenada

ABSTRACT. This article argues for a close relationship between national identity and the institutionalisation of the visual arts in Grenada. Art, which is intrinsic to all humans, predates its institutionalisation: it is only institutionalised in societies with a strong sense of national identity. In order to explain the role of national identity in the formation of national art, the article begins by examining the period following World War II, when Grenada – still under British colonialism – was undergoing intense social and political changes. To understand these changes, the analysis of the stratification system is paramount. The article delineates three groups on the basis of the value systems developed historically: the elite, the masses and a small, growing middle class situated between these two groups. The works of three prominent Grenadian artists illustrate the argument that institutionalisation of art requires a strong sense of national identity, and through this process the artistic development of a society occurs. Furthermore, understanding this process requires a focus on the ways in which social and political groups or classes impeded the development of a national identity, preventing the institutionalisation of the arts.     

Living with everyday environmental risks: giving a voice to young people in the design of community-based risk communication programs in the city of San Luis Potosí, México

Risk communication programs (RCPs) can contribute to the improvement of community health in marginalized settlements by improving health-related information and practices. Yet, there is a need to include young people's concerns in the design and implementation of RCPs. This study analyses young peoples’ risk perceptions in the city of San Luis Potosí, Mexico, using visual methods such as drawings and photography. Research was conducted with 74 students from two deprived urban neighborhoods. Results indicate that the use of visual techniques enabled them to identify environmental health risks such as unhealthy sedentary habits and the exposure to hazardous items. We conclude that visual methods may help young people to critically reflect on everyday elements in their environment that affect their well-being. By giving them a voice in a reflexive way, visual methods may engage young people as key multipliers in the awareness raising process, and promote their sense of everyday agency.     

乡村生活场景对游客情感体验的影响分析——基于眼动追踪的实验研究

乡村生活场景是乡村景观的重要组成,在乡村旅游中,乡村生活场景如何影响游客的情感体验是值得研究的问题。文章通过设计眼动实验,将眼动指标和问卷数据相结合,分析游客在观看无/简单/复杂三种乡村生活场景类型时的情感体验,同时考察怀旧感知在两者之间的作用,发现:①简单乡村生活场景会显著吸引游客的视觉注意;②复杂乡村生活场景对游客怀旧感知与情感体验有显著正向影响;③怀旧感知在乡村生活场景与游客情感体验之间发挥中介作用。本研究建议在乡村旅游的宣传设计中,应当意识到乡村生活场景作为视觉怀旧刺激的重要性,并考虑简单与复杂之间的平衡,以求既能充分吸引游客的视觉注意,又可以帮助游客获得较高的情感体验。     

民俗学艺术论题的转向——从民间艺术到支撑人之“生”的艺术(vernacular艺术)

民俗学研究中关于艺术的讨论通常是在民间艺术或民俗艺术概念之下展开的。然而,这类议论往往深受传统与历史性的束缚,普通人在生活世界里所制作的平凡作品很少有机会能被视作"艺术"。要使这样略失偏颇的论题实现在现代社会中的转向,vernacular艺术这个概念应能发挥效用。它所指的,是并不自许为"艺术家"的普通人受难以抑制的创作冲动所驱使而作成的艺术;是在那原本与正统艺术世界的制度、权力或权威无涉的世界里,自学习得艺术技能与知识的人们苦心巧思而成的艺术。它是呈现在普通人生活现场与路上的艺术,有时亦是支撑人生、充实生活的艺术,是寻回新生、填补生命的艺术。在民俗学中采用vernacular艺术这一视点时,艺术本身并不是真正需要我们考察的对象。我们应当考察的是艺术背后人们千姿百态的生活形象与方式,是他们别具特征的人生观与人性,这些都是极好的研究材料。另外,将"艺术家"的个人史与其生活社会的当代史加以描述,从中亦能生长出研究的良材。