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Habitus in Habitat III

Synaesthesia and Kinaesthetics


Edited By Joerg Fingerhut, Sabine Flach and Jan Söffner

A myriad of sensations inform and direct us when we engage with the environment. To understand their influence on the development of our habitus it is important to focus on unifying processes in sensing. This approach allows us to include phenomena that elude a rather narrow view that focuses on each of the five discrete senses in isolation. One of the central questions addressed in this volume is whether there is something like a sensual habitus, and if there is, how it can be defined. This is especially done by exploring the formation and habituation of the senses in and by a culturally shaped habitat. Two key concepts, Synaesthesia and Kinaesthetics, are addressed as essential components for an understanding of the interface of habitat and the rich and multisensory experience of a perceiving subject.
At a Berlin-based conference Synaesthesia and Kinaesthetics, scholars from various disciplines gathered to discuss these issues. In bringing together the outcome of these discussions, this book gives new insights into the key phenomena of sensory integration and synaesthetic experiences, it enriches the perspectives on sensually embedded interaction and its habituation, and it expands this interdisciplinary inquiry to questions about the cultures of sensory habitus.


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Arts of Synaesthesia


Why Is Green a Red Word? DITTE LYNGKÆR PEDERSEN Green is red because the two vowels ‘e’ are red and they are dominating my per- ception of the word green. I have used this question as a working title for a long- term project on synaesthesia. It reminds me of the big spectrum of colors and the complementary issues this phenomenon brings up. Under the umbrella of Why is Green a Red Word? I have made a series of conceptual and documentary video works, exhibitions, talks and a book. Between 2003 and 2010 I searched for synaesthetes and researchers around the world that would share their views on multi sensory perceptions. With an autobiographic approach I used the video camera as an instrument to collect, remember and discuss what I learned. I also used the camera to experiment on how to translate and imitate the synesthetic experience. In this process I found myself being fascinated by how language is an inadequate medium in describing the sensations, and at the same time how problematic a materialization is, be- cause the synaesthetic experience often happens in the minds eye. How does interpretation overlap, replace and become truths? How do we translate sensory experiences? How does one reduce such a phenomenon down to something one can identify with? These are some of the questions that guided the years of research. My main interest has been to discuss the subjective versus the objective re- ality and provoke imagination, rather than visualizing and materializing...

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