Synesthesia Quotes

A writer flirts with schizophrenia, nurtures synesthesia, and embraces obsessive-compulsive disorder. Your art feeds on you, your soul, and, yes, to a degree, your sanity. Writing novels worth reading will bugger up your mind, jeopardize your relationships, and distend your life. You have been warned.

The spring came suddenly; the rains stopped, the days grew noticeably longer, and the afternoon light felt powdery, as if it might blow away.

Mirror-touch synesthesia could very well scientifically explain why physical empaths seem to “catch” or absorb the illnesses of other people, and also why empaths, as a whole, find violence absolutely unbearable to watch.

He wondered at the atrocities human kind was capable of committing. The majority of those housed below were ill, mentally or physically, not witches. Most were poor victims--the outcasts of society; or the opposite, people so blessed, others coveted their lives.

Psilocybes gave our hominid ancestors “access to realms of supernatural power,” “catalyzed the emergence of human self-reflection,” and “brought us out of the animal mind and into the world of articulated speech and imagination.” This last hypothesis about the invention of language turns on the concept of synesthesia, the conflation of the senses that psychedelics are known to induce: under the influence of psilocybin, numbers can take on colors, colors attach to sounds, and so on. Language, he contends, represents a special case of synesthesia, in which otherwise meaningless sounds become linked to concepts. Hence, the stoned ape: by giving us the gifts of language and self-reflection psilocybin mushrooms made us who we are, transforming our primate ancestors into Homo sapiens.

Deep spirit scanning,” Eisfanger says. His voice has a strange resonance to it, like I’m hearing him through a bad phone connection. “Don’t worry, it’s completely safe. Well, mostly.” “Mostly?” “Side effects have been documented,” he admits. “In a very small percentage of cases. Less than two percent.” “What kind of side effects?” Suddenly I’m feeling nauseous. Feels like the ants are crawling around inside me now, which is exactly as disturbing as it sounds. “Memory loss. Synesthesia. And occasionally … vestigial growths.” “So I could forget my own name, start smelling purple everywhere and have an extra nipple sprout from my forehead?

She could taste her children on her tongue, the colors they wore. Jacqueline was yellow. Gunnar was blue. Gabriela had always been red. All their weight. Their history inside of her. And she remembered her mother's synesthesia and was startled as guilt crept up her throat.

There is a strong link between synesthesia and photographic memory (technically called eidetic memory) or at least heightened memory (hypermnesis). Many synesthetes used their synesthesia as a mnemonic aid.

...of having forgotten the colour of loves and the taste of hatreds. We thought we were immortal.

The feeling of pain resembles the anguished, troubled height of convulsions, and suffering-the long and the slow kind-has the intimate yellow which colours the vague bliss of profoundly felt convalescence".

She said that everything had colour in her thought; the months of the year ran through all the tints of the spectrum, the days of the week were arrayed as Solomon in his glory, morning was golden, noon orange, evening crystal blue, and night violet. Every idea came to her mind robed in its own especial hue. Perhaps that was why her voice and words had such a charm, conveying to the listeners' perception such fine shadings of meaning and tint and music.

Never had there been a time when sound, color, and feeling hadn’t been intertwined, when a dirty, rolling bass line hadn’t induced violets that suffused him with thick contentment, when the shades of certain chords sliding up to one another hadn’t produced dusty pastels that made him feel like he was cupping a tiny, golden bird. It wasn’t just music but also rumbling trains and rainstorms, occasional voices, a collective din. Colors and textures appeared in front of him, bouncing in time to the rhythm, or he’d get a flash of color in his mind, an automatic sensation of a tone, innate as breathing.

Most folks got Id and Ego living on different floors in their head’s house, in different rooms, and they’ve locked all the doors between them, and nailed sheets of plywood over that, because they think they’re, like, sworn enemies that can’t hang together. Ro thought the whole subconscious/conscious issue had something to do with why I am the way I am. She said I have the neurological condition synesthesia out the ass, with all kinds of cross regions of my brain talking to each other. Old witch was always psychoanalyzing me (as in she was the psycho and I was being analyzed). She said my Id and Ego are best buds, they don’t just live on the same floor, they share a bed. I’m cool with that. Frees up space for other stuff. I take off, tune out, and do what I do best. Kill.

When people read, they hear voices and see images in their head. This production is total synesthesia and something close to madness. A great book is an hallucinated IMAX film for one. The author had a feeling, which he turned into words, and the reader gets a feeling from those words—maybe it’s the same feeling; maybe it’s not. As Peter Mendelsund wrote in What We See When We Read, a book is a coproduction. A reader both performs the book and attends the performance. She is conductor, orchestra, and audience. A book, whether nonfiction of fiction, is an “invitation to daydream.

Without the color, I don't know how to proceed. I'm lost in shades of gray.

The tinkering of evolution can concoct perceptual interfaces with endless forms most beautiful and most wonderful; the vast majority of these, however, are to us most inconceivable. Evolution is not finished tinkering with the perceptual interfaces of Homo sapiens. The mutations that bless one in twenty-five with some form of synesthesia are surely part of the process, and some of these mutations might catch on; much of the tinkering centers on our perceptions of color. Evolution defies our silly stricture that our perceptions must be veridical. It freely explores endless forms of sensory interfaces, hitting now and then on novel ways to shepherd our endless foraging for fitness.

These experiments demonstrate the conceptual synesthesia connecting our ideas of the concrete experience of space and the abstract experience of time. Our concept of physical motion through space is scaffolded onto our concept of chronological motion through time. Experiencing one-indeed, merely thinking about one-influences our experience of and thoughts about the other, just as the theory of embodied cognition suggests.

All writers are demonic dreamers. Writing is an act of sharing experiences and offering of an individualistic perspective of our private attitudes pertaining to whatever topics of thought intrigues the author. Writing is a twitchy art, which attempts to employ linguist building blocks handed-down from past generations. Writers’ word choices form a structure of conjoined sentences when overlaid with the lingua of modern culture. Writers attempt to emulate in concrete form the synesthesia of our personal pottage steeped in our most vivid feelings. Writing a personal essay calls for us to sort out a jungle of lucid observations and express in a tangible technique our unique interpretation of coherent observations interlaced with that effusive cascade of yearning, the universal spice of unfilled desire, which turmoil of existential angst swamps us.

If you have a patient with a condition that's not understood why not ascribe it to a disorder that is also not understood? Autism occurs in males more than it does in females. So does higher order mathematical intuition. We think: What is this about? Dont know. What is at the heart of it? Dont know. All I can tell you is that I like numbers. I like their shapes and their colors and their smells and the way they taste. And I dont like to take people's word for things.

Mirror-touch synesthesia. My brain re-creates the sensory experiences of living creatures, of all people and even sometimes animals; if I see it I feel it, and for just a moment I am them, we are one and their pain or pleasure is my own.

So take my advice, don't hide the fact that you're different. Enjoy it.

I thought it would be cool to make one of the Gang a synesthete, reasoning that someone with cross-wired senses might have an advantage at deciphering the language of aliens with different sensory modalities; then, as I was putting Blindsight to bed, a paper appeared suggesting that synesthesias might be used to solve formal cognitive problems.129 This validates me, and I wish it happened more often.130

The organopsychedelic muscimole, an isoxazole-alkaloid derived from Amanita muscaria, a.k.a. the fly agaric mushroom—by no means, Michael Pemulis emphasizes, to be confused with phalloides or verna or certain other kill-you-dead species of North America’s Amanita genus, as the little kids sit there Indian-style on the Viewing Room floor, glassy-eyed and trying not to yawn—goes by the structural moniker 5-aminomethyl-3-isoxazolol, requires about like maybe ten to twenty oral mg. per ingestion, making it two to three times as potent as psilocybin, and frequently results in the following alterations in consciousness (not reading or referring to notes in any way): a kind of semi-sleep-like trance with visions, elation, sensations of physical lightness and increased strength, heightened sensual perceptions, synesthesia, and favorable distortions in body-image.

He mentally perceived words as having various sizes, densities, depths; words were dark stars, some small and dull and solid, some immense, complex, subtle, with a powerful gravity-field that attracted infinite meanings to them. Freedom was the biggest of the dark stars.

After all, across the population there are slight differences in brain function, and sometimes these translate directly into different ways of experiencing the world. And each individual believes his way is reality. To get a sense of this, imagine a world of magenta Tuesdays, tastes that have shapes, and wavy green symphonies. One in a hundred otherwise normal people experience the world this way, because of a condition called synesthesia (meaning “joined sensation”).5 In synesthetes, stimulation of a sense triggers an anomalous sensory experience: one may hear colors, taste shapes, or systematically experience other sensory blendings. For example, a voice or music may not only be heard but also seen, tasted, or felt as a touch. Synesthesia is a fusion of different sensory perceptions: the feel of sandpaper might evoke an F-sharp, the taste of chicken might be accompanied by a feeling of pinpoints on the fingertips, or a symphony might be experienced in blues and golds. Synesthetes are so accustomed to the effects that they are surprised to find that others do not share their experiences. These synesthetic experiences are not abnormal in any pathological sense; they are simply unusual in a statistical sense.

I see the last two millennia as laid out in columns, like a reverse ledger sheet. It's as if I'm standing at the top of the twenty-first century looking downwards to 2000. Future centuries float as a gauzy sheet stretching over to the left. I also see people, architecture and events laid out chronologically in the columns. When I think of the year 1805, I see Trafalgar, women in the clothes of that era, famous people who lived then, the building, etc. The sixth to tenth centuries are very green, the Middle Ages are dark with vibrant splashes of red and blue and the sixteenth and seventeenth centuries are brown with rich, lush colours in the furniture and clothing.

Mori made an unwilling sound. 'I don't like Western art.' 'No look at this.' He lifted it from its package. It wasn't heavy. 'It's clever, it looks like busy Mozart.' 'What?' 'I . . .' Thaniel sighed. 'I see sound. Mozart looks like this. You know. Fast strings.' 'See? In front of you?' 'Yes. I'm not mad.' 'I didn't think so. All sounds?' 'Yes.

just because we can't sense something doesn't mean it doesn't exist or isn't important. Our brains evolved to process information as quickly and efficiently as possible. It's likely the brain filters out much of our environment because it’s the efficient thing to do. But who's to say that we're not missing some very important or vital pieces of information that our brains are editing out for us in the name of efficiency?

Az égen nem volt egy szál felhő sem. Közben viszont az egészet az a sajátos tavaszi, sűrű, lankadt fátyol borította. És e megfoghatatlan fátyol fölül próbált az ég kékje lassanként előszivárogni. A napfény apró szemű porként hangtalanul hullt le a levegőbe, és anélkül, hogy bárki is különösebb figyelmet fordított volna rá, felgyűlt a földfelszínen. Langyos szellő rezegtette meg a fényt. Mint a madarak, akik csapatosan vágnak át a fák között, lassan úszott a levegő. A szél a vágány mentén lecsúszdázott az enyhe lejtőn, átvágott a síneken, és meg sem rezegtetve a fák leveleit, kibújt az erdőből. A kakukk hangja egyszerre csak, a puha fényen keresztül eltűnt egy messzi domborulatban. A domb vonulata néhány kisebb-nagyobb emelkedőből állt, és kuksolt ott, mint egy hatalmas alvó macska az idő fénytavában.

Numbers express quantities. In the submissions to my online survey, however, respondents frequently attributed qualities to them. Noticeably, colors. The number that was most commonly described as having its own color was four (52 votes), which most respondents (17) said was blue. Seven was next (28 votes), which most respondents (9) said was green, and in third place came five (27 votes), which most respondents (9) said was red. Seeing colors in numbers is a manifestation of synesthesia, a condition in which certain concepts can trigger incongruous responses, and which is thought to be the result of atypical connections being made between parts of the brain. In the survey, numbers were also labeled “warm,” “crisp,” “chagrined,” “peaceful,” “overconfident,” “juicy,” “quiet” and “raw.” Taken individually, the descriptions are absurd, yet together they paint a surprisingly coherent picture of number personalities. Below is a list of the numbers from one to thirteen, together with words used to describe them taken from the survey responses. One Independent, strong, honest, brave, straightforward, pioneering, lonely. Two Cautious, wise, pretty, fragile, open, sympathetic, quiet, clean, flexible. Three Dynamic, warm, friendly, extrovert, opulent, soft, relaxed, pretentious. Four Laid-back, rogue, solid, reliable, versatile, down-to-earth, personable. Five Balanced, central, cute, fat, dominant but not too much so, happy. Six Upbeat, sexy, supple, soft, strong, brave, genuine, courageous, humble. Seven Magical, unalterable, intelligent, awkward, overconfident, masculine. Eight Soft, feminine, kind, sensible, fat, solid, sensual, huggable, capable. Nine Quiet, unobtrusive, deadly, genderless, professional, soft, forgiving. Ten Practical, logical, tidy, reassuring, honest, sturdy, innocent, sober. Eleven Duplicitous, onomatopoeic, noble, wise, homey, bold, sturdy, sleek. Twelve Malleable, heroic, imperial, oaken, easygoing, nonconfrontational. Thirteen Gawky, transitional, creative, honest, enigmatic, unliked, dark horse. You don’t need to be a Hollywood screenwriter to spot that Mr. One would make a great romantic hero, and Miss Two a classic leading lady. The list is nonsensical, yet it makes sense. The association of one with male characteristics, and two with female ones, also remains deeply ingrained.

Let’s zoom in on a particular form of synesthesia as an example. For most of us, February and Wednesday do not have any particular place in space. But some synesthetes experience precise locations in relation to their bodies for numbers, time units, and other concepts involving sequence or ordinality. They can point to the spot where the number 32 is, where December floats, or where the year 1966 lies.8 These objectified three-dimensional sequences are commonly called number forms, although more precisely the phenomenon is called spatial sequence synesthesia.9 The most common types of spatial sequence synesthesia involve days of the week, months of the year, the counting integers, or years grouped by decade. In addition to these common types, researchers have encountered spatial configurations for shoe and clothing sizes, baseball statistics, historical eras, salaries, TV channels, temperature, and more.

You should quit. Cigarettes make people taste ... yellow." Taste? Kizzy's mind did a cartwheel. Taste? Was this Jack Husk thinking about tasting her? Great God Almighty, she did not want to taste yellow if that happened, whatever yellow tasted like.

People with synesthesia have their senses hooked together," I started to explain. "They can hear colors or feel sounds. Yours is-well, it looks like you taste shapes.

These descriptions allude to time/space dissolution, synesthesia (crossover of types of sensory perception) and altered states of consciousness.

In one of the strangest types of synesthesia—there are at least three dozen—people see a word and immediately experience a taste on their tongue.

Ni✝e Synesthesia Night has come, darkness peals Like thunder muffled in black velvet's fold. Shadows twirl like Ferris wheels, Click-clacking cobblestones wrought of gold. Light leapfrogs unobscured across avenues; Boulevards twinkle with rose perfume. Wind keens septic streets in crimson shoes, Dancing barefoot on a witch’s broom.

Isaac was a sociopath, and all sociopaths, be they Ted Bundy, Jeffery Dahmer, or Jenna's own mother, shared certain traits. One of those traits: they always played by their own rules, rules that set double standards—one standard for only them, and another standard for everyone else.

From the perspective of the objective world with its opaque qualities, or from the objective body with its isolated organs, the phenomenon of synesthesia is paradoxical...For the subject does not tell us merely that he has a sound and a color at the same time: it is the sound itself that he sees, at the place where colors form. This formula is literally rendered meaningless if vision is defined by the visual quale, or sound by the sonorous quale. But...the vision of sounds or the hearing of colors exist as phenomena. And they are hardly exceptional phenomena. Synesthetic perception is the rule and, if we do not notice it, this is because scientific knowledge displaces experience and we have unlearned seeing, hearing, and sensing in general in order to deduce what we ought to see, hear, or sense from our bodily organization and from the world as it is conceived by the physicist...In fact...by opening itself up to the structure of the thing, the senses communicate among themselves. We see the rigidity and the fragility of the glass, and, when it breaks with a crystal-clear sound, this sound is borne by the visible glass. We see the elasticity of steel, the ductility of molten steel, the hardness of the blade in a plane, and the softness of its shaving...The form of a fold in a fabric of linen or of cotton shows us the softness or the dryness of the fiber, and the coolness or the warmth of the fabric...In the movement of the branch from which a bird has just left, we read its flexibility and its elasticity, and this is how the branch of an apple tree and the branch of a birch are immediately distinguished. We see the weight of a block of cast iron that sinks into the sand, the fluidity of the water, and the viscosity of the syrup. Likewise, I hear the hardness and the unevenness if the cobblestones in the sound of a car, and we are right to speak of a 'soft,' 'dull' or 'dry' sound.

The law gave me an entirely new vocabulary, a language that non-lawyers derisively referred to as "legalese." Unlike the basic building blocks- the day-to-day words- that got me from the subway to the office and back, the words of my legal vocabulary, more often than not, triggered flavors that I had experienced after leaving Boiling Springs, flavors that I had chosen for myself, derived from foods that were never contained within the boxes and the cans of DeAnne's kitchen. Subpoenakiwifruit. InjunctionCamembert. Infringementlobster. Jurisdictionfreshgreenbeans. Appellantsourdoughbread. ArbitrationGuinness. Unconstitutionalasparagus. ExculpatoryNutella. I could go on and on, and I did. Every day I was paid an astonishing amount of money to shuffle these words around on paper and, better yet, to say them aloud. At my yearly reviews, the partners I worked for commented that they had never seen a young lawyer so visibly invigorated by her work. One of the many reasons I was on track to make partner, I thought. There were, of course, the rare and disconnecting exceptions. Some legal words reached back to the Dark Ages of my childhood and to the stunted diet that informed my earlier words. "Mitigating," for example, brought with it the unmistakable taste of elementary school cafeteria pizzas: rectangles of frozen dough topped with a ketchup-like sauce, the hard crumbled meat of some unidentifiable animal, and grated "cheese" that didn't melt when heated but instead retained the pattern of a badly crocheted coverlet. I had actually looked forward to the days when these rectangles were on the lunch menu, slapped onto my tray by the lunch ladies in hairnets and comfortable shoes. Those pizzas (even the word itself was pure exuberance with the two z's and the sound of satisfaction at the end... ah!) were evocative of some greater, more interesting locale, though how and where none of us at Boiling Springs Elementary circa 1975 were quite sure. We all knew what hamburgers and hot dogs were supposed to look and taste like, and we knew that the school cafeteria served us a second-rate version of these foods. Few of us students knew what a pizza was supposed to be. Kelly claimed that it was usually very big and round in shape, but both of these characteristics seemed highly improbable to me. By the time we were in middle school, a Pizza Inn had opened up along the feeder road to I-85. The Pizza Inn may or may not have been the first national chain of pizzerias to offer a weekly all-you-can-eat buffet. To the folks of the greater Boiling Springs-Shelby area, this was an idea that would expand their waistlines, if not their horizons. A Sizzler would later open next to the Pizza Inn (feeder road took on a new connotation), and it would offer the Holy Grail of all-you-can-eat buffets: steaks, baked potatoes, and, for the ladies, a salad bar complete with exotic fixings such as canned chickpeas and a tangle of slightly bruised alfalfa sprouts. Along with "mitigating," these were some of the other legal words that also transported me back in time: Egressredvelvetcake. PerpetuityFrenchsaladdressing. Compensatoryboiledpeanuts. ProbateReese'speanutbuttercup. FiduciaryCheerwine. AmortizationOreocookie.

Can you describe for me the tastes that you experienced as you said those words?" "Certainly. Mashed peas, dried apples, wine gum, weak tea, butter unsalted, Walkers crisps..."Mr. Roland replied. What I was experiencing at that moment wasn't an out-of-body experience. It was an in-another-body experience. Everything but this man and me had faded into darkness. He and I were at the two ends of a brightly lit tunnel. We were point A and point B. The tunnel was the most direct, straight-line route between the two points. I had never experienced recognition in this pure, undiluted form. It was a mirroring. It was a fact. It was a cord pulled taut between us. Most of all, it was no longer a secret. I don't remember getting up, but I must have. I do remember kneeling in front of the TV. I touched the image of Mr. Roland's face as his words jumped, swerved, coalesced, attacked, and revealed. As the interview continued, he became more comfortable with the interviewer, and his facial tics and rapid blinking lessened. He masked what he couldn't control by taking long sips from a glass of water (or perhaps the clear liquid was gin). He also turned his head slightly and coughed into his left hand, which provided him with a second or two of privacy. It soon became clear to Mr. Roland and to me that the interviewer wanted him to perform for the camera. After each question-and-answer exchange, the interviewer would ask him for the tastes of her words and then his. Mr. Roland was oddly obliging, much more so than I would have been in his position. I soon realized that his pool of experiential flavors, in other words his actual food intake, was very British and that he didn't venture far from home for his gastronomical needs. "Curry fries" was the most unusual taste that this piano tuner from Manchester listed. The word "employment" triggered it, he told the interviewer. I said "employment" aloud and tasted olives from a can, which meant I tasted more can than olives. I felt more than a tinge of envy.

The voiceover promised a baker in Terre Haute, Indiana, who saw colors when he heard music, every note bringing with it a vivid shade on the color spectrum. There was a flutist in Hamburg, Germany, who experienced flavors as shapes and textures. Her favorite was white asparagus, which was a pleasing hexagonal form with smooth bumps all over its surface. There was a writer in Tuscaloosa, Alabama, who saw all her words in colors because each letter of the alphabet appeared to her in a different hue. According to the voiceover, the name of the writer's hometown, with its preponderance of vowels, which were jewel tones of reds and oranges and pinks, was her favorite word.

I'm moved by letters and words in the way that you may be moved by the colors of a sunset or a field of wildflowers or the inside of a slaughterhouse." Ms. Cordell, almost as obligingly and patiently as Mr. Roland had, explained that sometimes a letter would dominate a word, causing the other letters around them to cower and become dim. The u in "instructions," for example. Because of its location right in the middle of the word, it's neon-pink glow was the star of the show. The letters in "techniques," however, were more of an ensemble production. The new-grass green of the t gave way to the lemon-pie filling e followed by c, with its black Labrador sheen. Ms. Cordell then abruptly stopped her description of the cooperative spirit of "techniques." She must have seen the look in the interviewer's eyes, which I could clearly see too, because the camera was documenting it. I saw there a mixture of fascination and disbelief and pity. I know it was the pity that made Ms. Cordell silent. Forget about the interviewer. Better yet, pity her. She has only five senses. Go on, Ms. Cordell, tell me what the word techniques does to you. It makes me taste cheesecake, graham cracker crust and everything, I wanted to tell her.

But, Mr. Harrison, did you never consider a career in music or, perhaps, as a visual artist?" the interviewer persisted. "I have a high school diploma. Guys like me, we don't consider careers. We get a job," Corny said. You're asking him the wrong questions. Ask about the sound of granulated sugar being poured into a stainless-steel bowl, the whirring motor of an electric mixer, or his fist punching down bread dough. A flat, B minor, or C sharp? Or did he prefer music made by others when he worked? If yes, then ask what songs and colors moved this man to make the lightest cakes, the chewiest cookies, breads with tender crusts?

Empirical evidence is not what counts. Rational proof is the only acceptable criterion of truth. If you cannot provide a sufficient reason for an argument you make, you do not have an argument. Sensory evidence is not a sufficient reason. It is not an argument. Sensory evidence is simply raw data. A million people could provide a million different ways of interpreting it, hence it’s meaningless. It has nothing to do with proof. “Evidence” concerns an appearance from which inferences may be drawn. It concerns that which is obvious to the eye. Yet what does “obvious” mean? What is obvious about sensory data? Color blind people don’t know what “blue” is. Tetrachromats, with four cone types in the eye (cone cells are responsible for color vision, while rod cells code for monochromatic vision) see color radically differently from normal people (i.e. trichromats with three cone types). People with synesthesia have drastically different sensory experiences from normal people. So, everything about the senses is mired in ambiguity, uncertainty and subjectivity. These are no organs for truth, i.e. organs that show us the truth of a thing, exactly what it is and everything about it. We see things in our dreams even though our eyes are closed. How can we see without eyes, how can we sense without sense organs? What’s for sure is that scientific empiricism and materialism won’t be furnishing any answers.

synesthesia—moments in which the stimulation of one sense provokes another.

Cities teemed with synesthesia. So many sounds and smells, a din of imagery, until your senses just gave up.

A week was what she wanted: a nice manageable chunk of time with a beginning, a middle, and an end, containing, if desired, a space for each of the wonders of the world, the champions of Christendom, the deadly sins, or the colours of the rainbow. (Monday was definitely yellow, Thursday a dull indigo, Friday violet. About the others she didn't feel so strongly.)

Rama’s experiments suggest that some metaphors can be understood as mild forms of synesthesia. In

The most evocative life memories, which produced a synesthesia of emotions, consist of a host of small pleasures intertwined with the homespun stitches of love, affection, kindness, humility, and appreciation of nature.

Galton, by comparison, was more a polymath, and made not insignificant contributions to a whole range of fields. His myriad gifts to the world included the first newspaper weather map,† the scientific basis of fingerprint analysis for forensics, a dizzying number of statistical techniques, many the underpinnings of all statistics used today, foundational work on the psychology of synesthesia, a vented hat to help cool the head while thinking hard,* and much else over his long and distinguished career.

You got this.” I turn just before I exit the booth, connecting our eyes. “For me. Sing for me.” I hear the difference immediately. I don’t know if it’s Amber’s miracle tea that has saved more than one voice on a rough night, or if it was our pep talk, but Kai nails it. She measures her breathing, every phrase spaced as it should be. Every note, properly supported. And emotion . . . God, as jaded as I am, it takes a lot for me to get goosebumps, but my goosebumps have goosebumps when she sings the lyrics this time. I don’t stop her once. I’m afraid to, scared I’ll ruin something magnificent by meddling with it. And when I told her to sing for me, I didn’t expect her to sing to me, but she does, stretching a live wire between her eyes and mine. I’m not only transfixed, but also painfully aroused by the whole thing. It’s so incredibly personal to have my words in her mouth. It’s almost an erotic experience to see something that came from my mind, from my heart, dwelling inside of her. I scoot under the board as far as I can so these guys can’t tease me about getting a hard on for a second verse. My synesthesia is in overdrive. I close my eyes, trapping all the colors the music shows me beneath my eyelids, not sharing them with anyone. Bright gold mixed with blue and green, a musical paisley splashed across the palette of my mind, splashed across my senses.

the clench of her body around me when she comes, sets me off so hard my body jerks rough and rapid until I’m coming, jetting into her body. And for the first time, it’s so intense it’s the same as my synesthesia, colors overtaking my mind, red wrapping around green, pink fusing with yellow, purple interspersing with blue. Vibrant hues coalescing into an aurora borealis that takes my breath, revealing to me the color of love.

I’ve started to see the love I have for my two children in different colours. Maternal synesthesia.

Mirror-touch synesthesia. My brain re-creates the sensory experiences of living creatures, of all people and even sometimes animals; if I see it I feel it, and for just a moment I am them, we are one and their pain or pleasure is my own. It can seem like magic and for a long time I thought it was, but really it’s not so far removed from how other brains behave: the physiological response to witnessing someone’s pain is a cringe, a recoil, a wince. We are hardwired for empathy.

If I hear notes in music I see each note visually. This is called synesthesia. Each one is as visually distinct as it is auditorally. Bach is geometric. Beethoven is like very long leaps of fire and light. Prokofiev is intricate scenes of lights and movement. Mozart is curly bands of lights and rosy colors. Jazz is sharp angles of light. Opera is lots of really huge deep lightning bolts. Pop is short simple bands of light. Rap is not a pretty sight. It is like an angry visual mess. I don’t enjoy it, but I do like samba and Latin rhythms. Those have cool bouncy lights and colors.

synesthesia

Associational synesthesia occurs in about half of all young children and from 5 to 15 percent of the adult population. The huge difference between the number of synesthetic children and adults clearly suggests that the typical educational focus on unisensory experiences and expression stifles an early and natural association of perceptions. “Synesthetic perception is the rule,” the French philosopher Maurice Merleau-Ponty has written, ruing the fact that “we unlearn how to see, hear, and generally speaking, feel.” Psychologist Lawrence Marks and his colleagues are more positive, suggesting that because so many children have synesthetic experiences, “the potential to experience synesthetically may lie latent within everyone.

synesthesia

time-space synesthesia

I was borderline obsessed in my youth, so much so that part of my “seeing” music is seeing individual parts of songs as blocks of LEGOs, a playful form of synesthesia that still to this day helps me memorize arrangements and compositions. As

With the violin nestled below my chin, I feel more at home than I ever have in any house. With my fingers on the soundboard and my right hand holding the bow, I close my eyes briefly and breathe. It's like a part of my body has been missing, and now, at last, it's reattached.

Tammet’s memory system is partly based on synesthesia: one type of sensory stimulation evokes the sensation of another, as when the visualization of a number or a letter evokes the visualization of a color or a taste.

When some people hear specific musical notes, they actually see certain colors. It’s called synesthesia

Remarkable. A true synesthesia of data. Seeing bandwidth. Hearing connections. People pay a great deal of money for drugs that synthesize what you’re experiencing right now for free, my little enigma. To see data flows, to hear processing. Tell me, is there taste? Is there sound? Is there smell?” “Yes,” Ethan heard himself say distantly. Ab was right, he could actually taste the data. It was sweet and metallic, then morphed into a chorus of distorted tones. The view shifted to a broad visualization of a vast, interconnected web.

my colored hearing, unique and idiosyncratic, formed my own private world no one else could envision, much as Zach’s world was unexplainable and unknowable to anyone but himself. It wouldn’t surprise me in the least if researchers one day discovered a neural connection between synesthesia and autism. Reality might be fluid and flexible, influenced greatly by individual perception instead of set in stone.

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If you are an autistic synesthete, you may be held in higher esteem by some than if you do not have it. It may also be regarded as “proof” that a person is on the spectrum, even though synesthesia is not listed as a symptom of pervasive developmental disorders in the DSM IV-TR or V or ICD-10. An

An additional problem occurs when people may infer they have synesthesia when they really do not, or they may pretend to have it when they don't. These people can actually harm diagnosed autistics and diagnosed autistic synesthetes, because they blur, cloud, and distort the common understanding of what real autism and what real synesthesia is.   One

The eyes, ears, nose, tongue, and skin sense the world around us, and in some cases perform preliminary information processing on the incoming data. But by and large, we do not experience sensation — we experience the outcome of perception — the total package that the brain puts together from the pieces that it receives through our senses and that the brain creates for us to experience. When we look out of the window at a view of countryside, or when we look at the face of a beautiful woman, we don’t just see a mess of colors and shapes — we see, instead, an image of a countryside or an image of a woman. The importance of a science is that it describes and explains each phenomenon in natural and rational way, if it can do this, and never attempts to use impossible illusion and irrationality, if it cannot. When science cannot clarify, religion covers empty space for a while. For instance, most of the mystical hallucinations of vision is the result of a so-called synesthesia — an experience in which one sensation (e.g. hearing a sound) creates experiences in another (e.g. vision). Most people do not experience synesthesia, but those who experience this phenomenon associate varoious perceptions in unusual ways, for instance, when they taste a particular food they can also percieve some colors or when they see certain objects they can clearly hear some sounds. Not knowing what is going on in the brain and sense organs, religion can easily connect this phenomenon with divine intervention, employing incredible myths around it for its benefit. It's true that science cannot explain everything and there is a high probability that it cannot do this forever, but it will never allow someone to wash human brain and keep it under control.

It turns out that there is only one other person known to have this extraordinary, and rare, combination of synesthesia and color blindness. He is Spike Jahan and he is a student of Ramachandran. Jahan approached Ramachandran shortly after he had attended a lecture on synesthesia. He told Ramachandran that he was color blind and had trouble distinguishing reds, greens, browns and oranges. He also had number-color synesthesia. However, the colors Jahan saw in his mind were tinged with colors that he had never seen in the real world. He called them “Martian colors.

As well as grapheme-color synesthesia, Joel also experiences the perception of numbers when he looks at people. Not only that, but each of those numbers has a distinct personality. “So do the personalities of the numbers represent the personalities of the people?” I ask, when he brings this up.

I’m intrigued. I thought I’d heard of every kind of synesthesia, but this one was new to me. “So how many numbers and personalities are there?” I ask. “Each number is a small collection of personality traits, almost like a person,

Synesthesia is a unique sensory phenomenon that affects less than ten percent of the world’s population. A person with synesthesia—or “joined perception”—often experiences multiple sensory responses when only one sense has been stimulated. Many creative people experience this comingling of senses: the painter Kandinsky saw colors when he listened to music, and the musician Billie Eilish reports a wide array of synesthetic experiences that include color, sound, texture, and temperature.