Synonyms for ideasthesia or Related words with ideasthesia

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Examples of "ideasthesia"
Ideasthesia refers to the capability of our minds to experience meaning. When concepts are activated i.e., when the meaning is extracted, the phenomenal experiences are affected. This tight relationship between meaning and experiences is investigated by research on ideasthesia.
It has been argued that grapheme-color synesthesia for geminate consonants provides also evidence for ideasthesia.
More recently research indicated that the effect may be a case of ideasthesia. Ideasthesia (alternative spelling ideaesthesia) is defined as a phenomenon in which activations of concepts (inducers) evoke perception-like experiences (concurrents). The name comes from the Greek "idea" and "aisthesis", meaning "sensing concepts" or "sensing ideas", and was introduced by Danko Nikolić.
More recently, research on ideasthesia indicated that Kiki and Bouba have an entire semantic-like network of associated cross-modal experiences.
For lexical-gustatory synesthesia evidence also points towards ideasthesia: In lexical-gustatory synesthesia, verbalisation of the stimulus is not necessary for the experience of concurrents. Instead, it is sufficient to activate the concept.
These views of Kant are mirrored in the research of ideasthesia, which demonstrates that one can experience the world only if one has the appropriate concepts (i.e., the "ideas") about the objects that are being experienced.
Ideasthesia (alternative spelling ideaesthesia) is defined as a phenomenon in which activations of concepts (inducers) evoke perception-like experiences (concurrents). The name comes . The main reason for introducing the notion of ideasthesia was the empirical evidence indicating that the related term synesthesia (i.e. "union of senses") suggests incorrect explanation of a set of phenomena traditionally covered by this heading. "Syn-aesthesis" denoting "co-perceiving", implies the association of two sensory elements with little connection to the cognitive level. However, according to others, most phenomena that have inadvertently been linked to synesthesia in fact are induced by the semantic representations i.e., the meaning of the stimulus rather than by its sensory properties, as would be implied by the term synesthesia. In other words, while synesthesia presumes that both inducer and concurrent are of sensory nature, ideasthesia presumes that only the concurrent is of sensory nature while inducer is semantic. Research on ideasthesia bears important implications for solving the mystery of human conscious experience, which according to ideasthesia, is grounded in how we activate concepts.
Evidence indicates that grapheme color synesthesia may be actually a case of ideasthesia. In other words, the vivid concurrent experiences of color may be induced by the concepts of graphemes and not by their sensory representations.
Ideasthesia is a psychological phenomenon in which activation of concepts evokes sensory experiences. For example, in synesthesia, activation of a concept of a letter (e.g., that of the letter "A") evokes sensory-like experiences (e.g., of red color).
According to the theory of ideasthesia (or "sensing concepts"), activation of a concept may be the main mechanism responsible for creation of phenomenal experiences. Therefore, understanding how the brain processes concepts may be central to solving the mystery of how conscious experiences (or qualia) emerge within a physical system e.g., the sourness of the sour taste of lemon. This question is also known as the hard problem of consciousness. Research on ideasthesia emerged from research on synesthesia where it was noted that a synesthetic experience requires first an activation of a concept of the inducer. Later research expanded these results into everyday perception.
In another study, synesthetes were prompted to form novel synesthetic associations to graphemes never seen before. Synesthetes created those associations within minutes or seconds - which was time too short to account for creation of new physical connections between color representation and grapheme representation areas in the brain, pointing again towards ideasthesia.
Difficulties have been recognized in adequately defining synesthesia. Many different phenomena have been included in the term synesthesia ("union of the senses"), and in many cases the terminology seems to be inaccurate. A more accurate but significantly less common term may be ideasthesia.
Ideasthesia theory of art may be used for psychological studies of aesthetics. It may also help explain classificatory disputes about art as its main tenet is that experience of art can only be individual, depending on person's unique knowledge, experiences and history. There could exist no general classification of art satisfactorily applicable to each and all individuals.
Absolute pitch shows a genetic overlap with synesthesia/ideasthesia, and some individuals with music-related synesthesia also have perfect pitch. They may associate certain notes or keys with different colors, enabling them to tell what any note or key is. It is unknown how many people with perfect pitch are also synesthetes.
This idea, and a detailed examination of the underlying processes, was first extensively explored by George Lakoff and Mark Johnson in their work "Metaphors We Live By". Other cognitive scientists, for example Gilles Fauconnier, study subjects similar to conceptual metaphor under the labels "analogy", "conceptual blending" and "ideasthesia".
According to the theory of ideasthesia, a sentient system has to have the capability to categorize and to create concepts. Empirical evidence suggests that sentience about stimuli is closely related to the process of extracting the meaning of the stimuli. How one understands the stimuli determines how one experiences them.
The above list of images for digits is consistent with a form of synesthesia (or ideasthesia) known as ordinal linguistic personification but is also related to a well-known mnemonic technique called the where the mnemonist creates images that physically resemble the digits. Luria did not clearly distinguish between whatever natural ability Shereshevsky might have had and mnemonic techniques like the method of loci and number shapes that "S" described.
In certain forms of synesthesia/ideasthesia, perceiving letters and numbers (grapheme–color synesthesia) or hearing musical sounds (music–color synesthesia) will lead to the unusual additional experiences of seeing colors. Behavioral and functional neuroimaging experiments have demonstrated that these color experiences lead to changes in behavioral tasks and lead to increased activation of brain regions involved in color perception, thus demonstrating their reality, and similarity to real color percepts, albeit evoked through a non-standard route.
Researchers hope that the study of synesthesia will provide better understanding of consciousness and its neural correlates. In particular, synesthesia might be relevant to the philosophical problem of qualia, given that synesthetes experience extra qualia (e.g. colored sound). An important insight for qualia research may come from the findings that synesthesia has the properties of ideasthesia, which then suggest a crucial role of conceptualization processes in generating qualia.
The concept of ideasthesia has been often discussed in relation to art, and also used to formulate a psychological theory of art. According to the theory, we consider something to be a piece of art when experiences induced by the piece are accurately balanced with semantics induced by the same piece. Thus, a piece of art makes us both strongly think and strongly experience. Moreover, the two must be perfectly balanced such that the most salient stimulus or event is both the one that evokes strongest experiences (fear, joy, ... ) and strongest cognition (recall, memory, ...) — in other words, "idea" is well balanced with "aesthesia".