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"Artificial synesthesia (syn = together, and aisthesis = perception in Greek) is a deliberately evoked or induced sensory joining in which the real information of one sense is accompanied by a perception in another sense through the use of a cross-modal mapping device. It is also known as virtual synesthesia or synthetic synesthesia. The additional perception is regarded by the trained synesthete as real, often outside the body, instead of imagined in the mind's eye. Its reality and vividness are what makes artificial synesthesia so interesting in its violation of conventional perception. Synesthesia in general is also fascinating because logically it should have been a product of the human brain, where the evolutionary trend has been for increasing coordination, mutual consistency and perceptual robustness in the processing of different sensory inputs."

"artist anne patterson has synesthesia, meaning that her sensory perceptions overlap; when she hears sound, she sees color. trained as an architect and theater production designer, this unique combination of senses has led to an artistic practice hovering somewhere between the theatrical and experiential. she continues to explore synesthetic environments with 'pathless woods', a colorful installation that began with her acclaimed 2013 project 'graced with light' at grace cathedral in san francisco."

"What is "sound art"? Should we define it within the context of experimental music or the visual arts or both? While the term first came into being in the 1980s, sound in the visual arts has a far longer history, ranging from Modernist experiments with synesthesia to the avant-garde exploits of Dada and Futurism. Sound art also has a distinctly musical heritage, emerging from the compositional experiments of John Cage, Tony Conrad, La Monte Young, Maryanne Amacher, and Pauline Oliveros, among others. This conversation will serve as the keynote to an all-day interdisciplinary conference on sound art and experimental music."

"Spring with Machine Age Noise No 1 was painted by Graves in 1957. It is among the first in a series of similar works all made that same year by Graves (see also Spring with Machine Age Noise No 3 1957, collection of Nancy Lassalle, New York; reproduced in Kass 1983, p.132). The artist had returned to his home in Woodway, Seattle, late in 1956 following a two-year period in the remote Irish countryside. He was upset to discover that the previously peaceful landscape was now regularly disrupted by the noise of construction work and of jet planes flying overhead. This was his motivation to paint a series of pictures in which the natural landscape was set in contrast to the disturbing vibrations of mechanical noise that now shattered the peacefulness of the scene. "

"The musician Dessa took a sensory tour in the city with the synesthete LJ Rich. Here is how it sounded"

"Jack Dutton meets those with the condition and the researchers who study them. Might it have benefits, and could it even be taught?"