Sinestezijos estetika

LTMonografijoje siekiama išskirti pagrindinius sinestezijos estetikos aspektus ir diachroniškai tirti juos pasitelkiant universalistinę perspektyvą, sumuojant ir apibendrinant įvairiuose kraštuose jau esamus ir dabar plėtojamus sinestezijos tyrimus. Tokio pobūdžio darbų, kurie pereitų į filosofinės refleksijos lygmenį ir empirinius duomenis apžvelgtų kaip epistemologines sumas skirtinguose kontekstuose, autorės žiniomis, yra labai nedaug ir kitose šalyse. Monografijoje nauja yra tai, kad joje siekiama sinesteziją aiškinti kaip nedalomą, universalų ir būtiną procesą, aprėpiantį daugelį kultūros plotmių, iškylantį kaip estetinis jų pagrindas, kritiškai įvertinama sinestezijos fenomeno sklaida Vakaruose nuo romantizmo iki postmodernizmo, kryptingai išryškinant šios sklaidos pagrindinius konceptualius virsmus, netolydumą, probleminius mazgus, prieštaravimus ir svarbiausius skiriamuosius tipologinius kiekvieno į tyrinėjimo lauką patekusio etapo (romantizmas, simbolizmas, modernizmas, postmodernizmas) savitumus. Kryptingai, pagal konkrečius poreikius formuojamos tarpdalykinės, kompleksinės, interaktyvios ir kitos tyrinėjimo strategijos. Taip pat nuolat pasitelkiami analizei būtini duomenys ir pagalbiniai tyrimo instrumentai iš estetikos, meno filosofijos, teorinės menotyros, meno psichologijos, meninės kūrybos procesų psichologijos, fiziologijos ir kitų disciplinų. Sinestezija šioje monografijoje suprantama kaip pamatinis žmogiškosios sensorinės patirties reiškinys ir potenciali esminių estetikos transformacijų erdvė. [Leidėjo anotacija]

ENThe aesthetics of synaesthesia are multidimensional, mostly non-historical vectors of sensory interactions, which spontaneously permeate the human world of cultural values and symbols, especially its artistic plane, as well as the epitomised, conscious or non-articulated, sensually embedded vital and creative human activity. The material basis of such aesthetics is the human senses, not only perceived as the conductor of empirical experience but also as the plastic, universal and creative foundation of human aesthetic existence and artistic forms of self-expression. Artistic activity, unlike philosophical thinking, has been widely based on the body as its instrument and the material of the artistic process from its inception, while the embodied senses in their operation reflect the human’s vital and creative activity, influenced by a variety of cultural factors. The link between all of the above factors is a fundamental precondition for the aesthetics of synaesthesia. In the Western classical aesthetics tradition, synaesthesia is usually defined as the derivative of the concepts of Greek origin (syn−together and aisthesis− perceive) syn–aisthesia, thus defining the fundamental contour of the concept of synaesthesia, expressing temporally posterior unification of individual senses rather than their primaeval unity. The Greek roots in synaesthesia essentially refer not to the individual sensory experience but more to the social phenomenon. The verb sunaisthanomai and the noun sunaesthesis, which were primarily used by Aristotle, marked the same phenomenon or sense formation experienced by many individuals, which establishes the encounter of the living entity with the world or with itself.In addition to the traditional conception of synaesthesia based on the abstract etymological system, various normative definitions of embedded and / or inculturated synaesthesia are gaining strength in modern aesthetics. They are usually still partial, based on one or another synaesthesia or aspect, but already unanimously claiming to be congenital, rare, selfish, automatic and with some other condition. These and similar concepts refer to the body as the foundation of the phenomenon of synaesthesia and treat culture as an infinite set of expressions. On the other hand, synaesthesia is usually defined as the interaction of senses (but not the unity) in the act of sensorial experience, or as the transfer of modality of one sense into the modality of another sense. Again mechanicality and artifactuality of traditional Western synaesthesia can be traced here. Consequently, the frequency of non-synaesthetic expression in artworks does not determine the nature of aesthetics of synaesthesia, which is close to the interactions of different arts as the extension of the theoretical constructs of traditional aesthetics. On the contrary, the rational mechanical structure of synaesthesia, which makes it suitable only for artefacts and not for the full sensorial dissemination of aesthetic experience, is anticipated in advance much faster. Therefore, in many cases in traditional aesthetics, synaesthesia is simply identified with the interactions of the arts, and in the artistic sphere; it is not considered that it is only one of the number of areas of sensorial and aesthetic human expressions, which can be encompassed and covered by synaesthesia.Such universality of synaesthesia is already found by Maurice Merleau-Ponty in the phenomenological acclamations of the synaesthetic experience, which is interpreted as all-inclusive and natural. It can be stated even easier: the synaesthetic experience is just an aesthetic experience par excellence if we acknowledge that the aesthetic experience must consist of an indivisible universe of senses. Here are some definitions of synaesthesia, which basically refer more to the transfer of characteristics of one sense to another sense, and it is rarely spoken of specific sensorial association. It is worth pointing out this feature of Western synaesthesia−a particular sensorial transfer, which permeates synaesthetic phenomena. The Western mechanics of the scientific synaesthesia definition are somewhat reminiscent of the dynamic transfer of mental data, intrinsic to the phenomenon of psychoanalysis at a similar time. This aspect deserves a separate cultural and historical study, which focuses on a Western specific unifying mechanism. Here is a group of synaesthesia definitions, on which aesthetics of synaesthesia rests. “Synaesthesia is the phenomenon, in which the stimulation of one sense modality gives rise to a sensation in another sense modality”, as Crétien van Campen and Clara Froger469 state. Also “the term synaesthesia suggests that the joining of sensations derived from different sensory domains”, as proposed by Reuven Tsur, Michael J. Banissy, Clare Jonas, Roi Cohen Kadosh delivers the definition with the most frequent elements: “synaesthesia is a rare experience, where one property of a stimulus evokes a second experience not associated with the first”471. In the definition of synaesthesia, Julia Simner also emphasises the transfer of sensorial modalities: “for people with synaesthesia, sensations in two modalities are experienced when only one is stimulated [...]”. [From the publication]

• Menotyra / Arts
• Filosofija / Philosophy