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EXAMINATION OF THE VIEWS OF FINE ARTS HIGH SCHOOL PAINTING DEPARTMENT STUDENTS ON THEIR SYNESTHETIC EXPERIENCES*

Yıl 2025, Sayı: 15- Özel sayı, 314 - 337, 20.10.2025
https://doi.org/10.20488/sanattasarim.1804249

Öz

The purpose of this study is to make sense and raise awareness of synesthetic experiences
of high school art students, and to ensure that students discover and consciously use their
creativity skills in artistic creation processes. The study adopts a qualitative approach
and is based on the phenomenological design. The study group consists of 15 art students,
aged between 15 and 18 and seven visual arts teachers. A participant identification form
was given to 115 students to determine the study group. To obtain data, qualitative data
collection methods including interviews, observation and document analysis were used.
The data obtained in the study were analysed through content analysis. When the results
of the study are evaluated, the synesthetic experiences of the students are experiences such
as numbers having colors, seeing colors or shapes while listening to music, and associating
words with certain tastes. However, a significant number of students were not aware that
these experiences were a special case of synesthesia. Most of the participants thought that
these experiences were not unique to them and that everyone perceived them similarly.
This situation caused the students not to use their synesthetic experiences in their creative
processes or academic lives before. Having learned about the concept of synesthesia during
the research process, the students were able to better describe their experiences and expressed
that they felt creative and different. The visual arts teachers stated that they had never
heard of synesthesia and should have knowledge of the phenomenon.

Kaynakça

  • Albers, Patricia. 2011. Joan Mitchell: lady painter. New York: Alfred A. Knopf.
  • Anadol, R. (2020). Synaesthetic architecture: a building dreams. Architectural Design, 90(3), 76-85.
  • Bargary, G. and Mitchell, K. J. (2008). Synaesthesia and cortical connectivity. Trends in Neurosciences, 31(7), 335-342.
  • Baron-Cohen, S., Burt, L., Smith-Laittan, F., Harrison, J. & Bolton, P. (1996). Synaesthesia: prevalence and familiality. Perception, 25(9), 1073-1079.
  • Chen, B. (2021, January). Research on the experience of interactive art from the perspective of reception aesthetics. The 6th International Conference on Arts, Design and Contemporary Education, Moscow, Atlantis Press, p. 39-42. https://www.atlantis-press.com/proceedings/icadce-20/125950767
  • Clyne, S. (2019). Synesthesia and the contour method of drawing [Master thesis, Harvard University].
  • Creswell, W. J. (2009). Qualitative inquiry and research design: Qualitative, quantitative, and mix methods. USA: Sage Publications.
  • Creswell, W. J. (2013). Qualitative inquiry & research design choosing among five approaches. USA: Sage Publications.
  • Cunliffe, L. (1994). Synaesthesia‐arts education as cross‐modal relationships rooted in cognitive repertoires. International Journal of Art & Design Education, 13(2), 163-172.
  • Cytowic, R. E. and Eagleman D. M. (2009). Wednesday is indigo blue: Discovering the brain of synesthesia. Cambridge, MA: MIT.
  • Day, S. (2016). Synesthetes: A handbook. California: CreateSpace Independent Publishing Platform.
  • Dekker, A. (2003, September). Synaesthetic performance in the club scene. 3rd Conference on Computational Semiotics for Games and New Media, Middlesbrough, p. 24. http://www.cosignconference.org/downloads/papers/proceedings_cosign_2003.
  • Dmytrenko, N. (2017). Verbal synesthesia as a source of artistic image. Conference Organizing Committee. Prague, p. 31. http://www.media4u.cz/mav/9788087570395.pdf Domino, G. (1989). Synesthesia and creativity in fine arts students: an empirical look. Creativity Research Journal, 2(1-2),17-29.
  • Gudova, M., Lisovetc, I. & Tapilina, E. (2016). The formation of sensual synesthesia abilities in contemporary art education. The European Proceedings of Social & Behavioural Sciences, 705-713.
  • Güner, A. (2024). Sürükleyici sanatta somaestetik yaklaşımlar; (UN) balance XR deneyimi örneği. Anadolu Üniversitesi Sanat ve Tasarım Dergisi, 14(1), 417-429.
  • Kandinsky, W. (1982). Kandinsky: complete writings on art, Vols. 1 (1901–1921) and 2 (1922–1943). K. C. Lindsay & P. Vergo (Ed.), (ss. 114-220). London: Faber & Faber.
  • Kuby, C. R. (2013). Evoking emotions and unpacking layered histories through young children’s illustrations of racial bus segregation. Journal of Early Childhood Literacy, 13(2), 271-300.
  • McCartney, P. (2022, 22 Temmuz). You gave me the answer- Have you ever experienced synaesthesia?. https://www.paulmccartney.com/news/you-gave-me-the-answer-have-you-ever-experienced-synaesthesia?fbclid=IwAR02fZIl3J2bZfmxhKWoOmBy-zJ5AZ1-RA1MGyLfWXfDKdojyeKVMkWo-0k
  • Mankovskaya, N. (2019, March). Concepts of synesthesia and synthesis of arts in aesthetics of french symbolism and their multimedia echo. Conference of the Synesthesia: The Synthesis of Arts in World Art Culture. Saint Petersburg, p. 102. https://www.conservatory.ru/sites/default/files/uploads/science/Synesthesia%20The%20Synthesis%20of%20Arts.pdf
  • Melini, E. (2021). Application of the synesthetic approach in a layout design course, de-lite: Journal of Visual Communication Design Study & Practice, 1(1), 1-9.
  • Merriam, S. B. and Tisdell, E. J. (2015). Qualitative research: A guide to design and implementation. John Wiley & Sons.
  • Miles, M. B. and Huberman, A.M. (1994). Qualitative data analysis: An expanded sourcebook. 2nd (Ed.), Newbury Park, CA: Sage.
  • Moustakas, C. (1994). Phenomenological research methods. London: Sage Publications.
  • Mulvenna, C. M., Hubbard, E. M., Ramachandran, V. S. & Pollick, F. (2004). The relationship between synaesthesia and creativity. Journal of Cognitive Neuroscience, 16, 188.
  • O’Neill, S. (2019). Synaesthesia and cycling data art: towards cross-modal representations of self-tacking cycling data. Digital Creativity, 30(2), 127-140.
  • Patton, M. Q. (2014). Qualitative research & evaluation methods: Integrating theory and practice. Sage Publications.
  • Rakhmanova, O. (2017). The methodology for development of artistic and creative synaesthetic perception of younger school students on integrated lessons of musical art. Modern Tendencies in the Pedagogical Science of Ukraine and Israel: The Way to Integration, 8, 194-201.
  • Rich, A., Bradshaw, J. & Mattingley, J. (2005). A systematic, large-scale study of synaesthesia: implications for the role of early experience in lexical-colour associations. Cognition, 98(1), 53-84.
  • Rolling, V. and Teel, K. (2022). Beholding: the neuroaesthetic experience of a synesthetic dress. International Journal of Fashion Design, Technology and Education, 15(1), 98-108.
  • Rothen, N. and Meier, B. (2010). Higher prevalence of synaesthesia in art students. Perception, 39(5), 718-720.
  • Sola Chagas Lima, E. (2020). Music notation to color synesthesia and early stages of music education: A grounded theory study. [Yayımlanmamış doktora tezi]. Andrews University.
  • Şimşek, O., Balkan, S. A., & Koca, A. (2022). Mekânsal deneyimlerde sinestezi (çokluduyusal algı) kavramı ve teknolojiyle değişiminin incelenmesi. Journal of Architectural Sciences and Applications, 7(Özel Sayı), 40-59.
  • Van Campen, C. (2008). The hidden sense: Synesthesia in art and science. Cambridge, MA: MIT.
  • Ward, J. and Simner, J. (2005). Is synaesthesia an x-linked dominant trait with lethality in males?. Perception, 34(5), 611-623.
  • Ward, J., Thompson‐Lake, D., Ely, R. & Kaminski, F. (2008). Synaesthesia, creativity and art: what is the link?. British Journal of Psychology, 99(1), 127-141.
  • Ward, J. (2009). The frog who croaked blue: Synesthesia and the mixing of the senses. Routledge.
  • Xian, Y. and You, L. (2019, December). Research on practices of experiential teaching in music courses of elementary schools. 5th Annual International Conference on Social Science and Contemporary Humanity Development, Wuhan, Atlantis Press, s. 237-241. https://www.atlantis-press.com/proceedings/sschd-19/125925655
  • Yağmur, Ö. (2018). Heykeli sinestetik düşünmek. Ordu Üniversitesi Sosyal Bilimler Enstitüsü Sosyal Bilimler Araştırmaları Dergisi, 8(3), 677-683.
  • Yorulmaz, M. Y. (2025). Sinestezi ışığında duyular arası etkileşim ve çağdaş sanat paradigmaları. Sanat ve Yorum, (45), 72-81.
  • Yunosova, V., Alekseeva, L., Hlazova, S., Kornienko, S. & Shkola, G. (2020). Phenomenon of sound synesthesia in the development of students creative thinking. Journal of History Culture and Art Research, 9(2), 147-164

GÜZEL SANATLAR LİSESİ RESİM BÖLÜMÜ ÖĞRENCİLERİNİN SİNESTEZİK DENEYİMLERİNE İLİŞKİN GÖRÜŞLERİNİN İNCELENMESİ*

Yıl 2025, Sayı: 15- Özel sayı, 314 - 337, 20.10.2025
https://doi.org/10.20488/sanattasarim.1804249

Öz

Bu araştırmada güzel sanatlar lisesi resim bölümü öğrencilerinin yaşadığı sinestezik deneyimleri
anlamlandırmak, farkındalık sağlamak ve ortaya çıkararak öğrencinin sanatsal
üretim sürecindeki yaratıcılık becerilerini bilinçli bir şekilde gerçekleştirmesi hedeflenmektedir.
Nitel yöntemin uygulandığı araştırma, fenomenoloji desenine dayanmaktadır.
Araştırmanın çalışma grubunu 15-18 yaş grubu 15 resim öğrencisi ve yedi görsel sanatlar
öğretmeni oluşturmaktadır. Çalışma grubunu belirlemek için 115 öğrenciye beş soruluk
katılımcı belirleme formu verilmiştir. Verilerin elde edilmesinde görüşme, gözlem ve doküman
incelemesi gibi nitel veri toplama tekniklerinden yararlanılmıştır. Araştırmada elde
edilen veriler içerik analizi ile çözümlenmiştir. Araştırmanın sonuçları değerlendirildiğinde,
öğrencilerin sinestezik deneyimleri sayıların renklere sahip olması, müzik dinlerken
renk ya da şekil görme, kelimelerin belirli tatlarla ilişkilendirilmesi gibi deneyimlerdir. Ancak
öğrencilerin önemli bir kısmı bu deneyimlerin sinesteziye ait özel bir durum olduğunun
farkında değildir. Katılımcıların çoğu, bu deneyimlerin kendilerine özgü olmadığını
ve herkesin benzer şekilde algıladığını düşünmüştür. Bu durum, öğrencilerin sinestezik deneyimlerini
daha önce yaratıcı süreçlerinde ya da akademik yaşamlarında kullanmamalarına
neden olmuştur. Araştırma sürecinde sinestezi kavramını öğrenen öğrenciler, sahip
oldukları deneyimleri daha iyi tanımlayabilmiş; kendilerini yaratıcı ve farklı hissettiklerini
ifade etmişlerdir. Bununla birlikte, görsel sanatlar öğretmenlerinin sinesteziyi daha önce
duymadıkları, sinestezi hakkında ise bilgi sahibi olunması gerektiğini ifade etmişlerdir.

Kaynakça

  • Albers, Patricia. 2011. Joan Mitchell: lady painter. New York: Alfred A. Knopf.
  • Anadol, R. (2020). Synaesthetic architecture: a building dreams. Architectural Design, 90(3), 76-85.
  • Bargary, G. and Mitchell, K. J. (2008). Synaesthesia and cortical connectivity. Trends in Neurosciences, 31(7), 335-342.
  • Baron-Cohen, S., Burt, L., Smith-Laittan, F., Harrison, J. & Bolton, P. (1996). Synaesthesia: prevalence and familiality. Perception, 25(9), 1073-1079.
  • Chen, B. (2021, January). Research on the experience of interactive art from the perspective of reception aesthetics. The 6th International Conference on Arts, Design and Contemporary Education, Moscow, Atlantis Press, p. 39-42. https://www.atlantis-press.com/proceedings/icadce-20/125950767
  • Clyne, S. (2019). Synesthesia and the contour method of drawing [Master thesis, Harvard University].
  • Creswell, W. J. (2009). Qualitative inquiry and research design: Qualitative, quantitative, and mix methods. USA: Sage Publications.
  • Creswell, W. J. (2013). Qualitative inquiry & research design choosing among five approaches. USA: Sage Publications.
  • Cunliffe, L. (1994). Synaesthesia‐arts education as cross‐modal relationships rooted in cognitive repertoires. International Journal of Art & Design Education, 13(2), 163-172.
  • Cytowic, R. E. and Eagleman D. M. (2009). Wednesday is indigo blue: Discovering the brain of synesthesia. Cambridge, MA: MIT.
  • Day, S. (2016). Synesthetes: A handbook. California: CreateSpace Independent Publishing Platform.
  • Dekker, A. (2003, September). Synaesthetic performance in the club scene. 3rd Conference on Computational Semiotics for Games and New Media, Middlesbrough, p. 24. http://www.cosignconference.org/downloads/papers/proceedings_cosign_2003.
  • Dmytrenko, N. (2017). Verbal synesthesia as a source of artistic image. Conference Organizing Committee. Prague, p. 31. http://www.media4u.cz/mav/9788087570395.pdf Domino, G. (1989). Synesthesia and creativity in fine arts students: an empirical look. Creativity Research Journal, 2(1-2),17-29.
  • Gudova, M., Lisovetc, I. & Tapilina, E. (2016). The formation of sensual synesthesia abilities in contemporary art education. The European Proceedings of Social & Behavioural Sciences, 705-713.
  • Güner, A. (2024). Sürükleyici sanatta somaestetik yaklaşımlar; (UN) balance XR deneyimi örneği. Anadolu Üniversitesi Sanat ve Tasarım Dergisi, 14(1), 417-429.
  • Kandinsky, W. (1982). Kandinsky: complete writings on art, Vols. 1 (1901–1921) and 2 (1922–1943). K. C. Lindsay & P. Vergo (Ed.), (ss. 114-220). London: Faber & Faber.
  • Kuby, C. R. (2013). Evoking emotions and unpacking layered histories through young children’s illustrations of racial bus segregation. Journal of Early Childhood Literacy, 13(2), 271-300.
  • McCartney, P. (2022, 22 Temmuz). You gave me the answer- Have you ever experienced synaesthesia?. https://www.paulmccartney.com/news/you-gave-me-the-answer-have-you-ever-experienced-synaesthesia?fbclid=IwAR02fZIl3J2bZfmxhKWoOmBy-zJ5AZ1-RA1MGyLfWXfDKdojyeKVMkWo-0k
  • Mankovskaya, N. (2019, March). Concepts of synesthesia and synthesis of arts in aesthetics of french symbolism and their multimedia echo. Conference of the Synesthesia: The Synthesis of Arts in World Art Culture. Saint Petersburg, p. 102. https://www.conservatory.ru/sites/default/files/uploads/science/Synesthesia%20The%20Synthesis%20of%20Arts.pdf
  • Melini, E. (2021). Application of the synesthetic approach in a layout design course, de-lite: Journal of Visual Communication Design Study & Practice, 1(1), 1-9.
  • Merriam, S. B. and Tisdell, E. J. (2015). Qualitative research: A guide to design and implementation. John Wiley & Sons.
  • Miles, M. B. and Huberman, A.M. (1994). Qualitative data analysis: An expanded sourcebook. 2nd (Ed.), Newbury Park, CA: Sage.
  • Moustakas, C. (1994). Phenomenological research methods. London: Sage Publications.
  • Mulvenna, C. M., Hubbard, E. M., Ramachandran, V. S. & Pollick, F. (2004). The relationship between synaesthesia and creativity. Journal of Cognitive Neuroscience, 16, 188.
  • O’Neill, S. (2019). Synaesthesia and cycling data art: towards cross-modal representations of self-tacking cycling data. Digital Creativity, 30(2), 127-140.
  • Patton, M. Q. (2014). Qualitative research & evaluation methods: Integrating theory and practice. Sage Publications.
  • Rakhmanova, O. (2017). The methodology for development of artistic and creative synaesthetic perception of younger school students on integrated lessons of musical art. Modern Tendencies in the Pedagogical Science of Ukraine and Israel: The Way to Integration, 8, 194-201.
  • Rich, A., Bradshaw, J. & Mattingley, J. (2005). A systematic, large-scale study of synaesthesia: implications for the role of early experience in lexical-colour associations. Cognition, 98(1), 53-84.
  • Rolling, V. and Teel, K. (2022). Beholding: the neuroaesthetic experience of a synesthetic dress. International Journal of Fashion Design, Technology and Education, 15(1), 98-108.
  • Rothen, N. and Meier, B. (2010). Higher prevalence of synaesthesia in art students. Perception, 39(5), 718-720.
  • Sola Chagas Lima, E. (2020). Music notation to color synesthesia and early stages of music education: A grounded theory study. [Yayımlanmamış doktora tezi]. Andrews University.
  • Şimşek, O., Balkan, S. A., & Koca, A. (2022). Mekânsal deneyimlerde sinestezi (çokluduyusal algı) kavramı ve teknolojiyle değişiminin incelenmesi. Journal of Architectural Sciences and Applications, 7(Özel Sayı), 40-59.
  • Van Campen, C. (2008). The hidden sense: Synesthesia in art and science. Cambridge, MA: MIT.
  • Ward, J. and Simner, J. (2005). Is synaesthesia an x-linked dominant trait with lethality in males?. Perception, 34(5), 611-623.
  • Ward, J., Thompson‐Lake, D., Ely, R. & Kaminski, F. (2008). Synaesthesia, creativity and art: what is the link?. British Journal of Psychology, 99(1), 127-141.
  • Ward, J. (2009). The frog who croaked blue: Synesthesia and the mixing of the senses. Routledge.
  • Xian, Y. and You, L. (2019, December). Research on practices of experiential teaching in music courses of elementary schools. 5th Annual International Conference on Social Science and Contemporary Humanity Development, Wuhan, Atlantis Press, s. 237-241. https://www.atlantis-press.com/proceedings/sschd-19/125925655
  • Yağmur, Ö. (2018). Heykeli sinestetik düşünmek. Ordu Üniversitesi Sosyal Bilimler Enstitüsü Sosyal Bilimler Araştırmaları Dergisi, 8(3), 677-683.
  • Yorulmaz, M. Y. (2025). Sinestezi ışığında duyular arası etkileşim ve çağdaş sanat paradigmaları. Sanat ve Yorum, (45), 72-81.
  • Yunosova, V., Alekseeva, L., Hlazova, S., Kornienko, S. & Shkola, G. (2020). Phenomenon of sound synesthesia in the development of students creative thinking. Journal of History Culture and Art Research, 9(2), 147-164
Toplam 40 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular Resim
Bölüm Makaleler
Yazarlar

Ömür Göktepeliler 0000-0002-7302-341X

Şeniz Aksoy 0000-0001-5101-2691

Yayımlanma Tarihi 20 Ekim 2025
Gönderilme Tarihi 3 Mart 2025
Kabul Tarihi 30 Haziran 2025
Yayımlandığı Sayı Yıl 2025 Sayı: 15- Özel sayı

Kaynak Göster

APA Göktepeliler, Ö., & Aksoy, Ş. (2025). EXAMINATION OF THE VIEWS OF FINE ARTS HIGH SCHOOL PAINTING DEPARTMENT STUDENTS ON THEIR SYNESTHETIC EXPERIENCES*. Sanat ve Tasarım Dergisi(15- Özel sayı), 314-337. https://doi.org/10.20488/sanattasarim.1804249