Essay: The Exploration of the Senses
Why is synesthesia in art essential for the non-art and art enthusiast?
Rene Descartes’ philosophy—“I think, therefore I am”—serves as a foundation for understanding how humans define existence and perception. In Discourse on the Method, Descartes argues that we interpret the world through multiple senses that work together. This essay builds on that concept by exploring synesthesia in art—the blending of senses—and its value to both artists and audiences.
Synesthesia is a neurological phenomenon where multiple senses are activated simultaneously. As explained in Cretien Van Campen’s The Hidden Sense: Synesthesia in Art and Science, the term literally means “to perceive together.” In art, it becomes a tool for deeper creativity and connection. It encourages participants to think with their senses, aligning with Descartes’ notion of being “a thing that thinks.”
The Role of Synesthesia in Everyday Life
Humans are naturally impressionable. For example, seeing the McDonald’s logo often triggers the memory of its jingle—a blend of sight, sound, and emotion. Though not pure synesthesia, this shows how sensory overlap drives engagement and recall.
Even in early development, humans rely on sensory learning. Infants experience what researchers call a “sensory primordial soup,” where sensations are indistinguishable. As they grow, they use habituation (decreased response to familiar stimuli) and sensitization (heightened response to new stimuli) to understand their world. These principles suggest that sensory interplay forms the basis for human learning and creativity.
Campen emphasizes this in education, proposing “synesthetic environments” where students use senses collaboratively. Painting to music, or composing to art, can stimulate multi-sensory thinking and creativity. He writes that “the senses contain more ways of knowing than the school system may suggest.”
Synesthesia in Fine Art
Paul Klee exemplified this philosophy. The Swiss-German artist rejected academic rigidity, seeking to express movement rather than static imagery. In Creative Confession, Klee wrote, “When a dot begins to move and become a line, this requires time.” He viewed art as a manifestation of rhythm, music, and unseen dimensions—“Art does not reproduce the visible; rather, it makes visible.” His dual background as a musician and painter informed his approach, merging visual and auditory experience into a single act of creation.
Teresa Margolles, a Mexican conceptual artist, uses sensory engagement to confront social and political realities. Her exhibition Muerte Sin Fin (Death Without End) at the Museum für Moderne Kunst in Frankfurt forced viewers to face mortality through touch, sound, and scent. Each installation used materials from a morgue—water, papers, casts, and sound recordings—to immerse the audience in death’s physical and emotional presence. Her work demonstrates how sensory art can provoke profound empathy and awareness.
Conclusion
Synesthesia, both natural and artistic, deepens human understanding. From Descartes to Campen, Klee, and Margolles, the synthesis of senses drives perception, emotion, and thought. It challenges audiences to see beyond the visible, think critically, and engage wholly with the world. By embracing sensory interplay, art becomes not only something to see—but something to feel, hear, and experience.
As Paul Klee wrote,
“Occasionally the beholder stops looking and goes away—the artist often does the same thing. If he thinks it worthwhile, he comes back—again like the artist.”
References
Campen, C. (2008). The Hidden Sense. MIT Press.
Descartes, R. Discourse on the Method. Alex Catalogue.
Düchting, H. (1997). Paul Klee: Painting and Music. Prestel.
Klee, P. (2013). Creative Confession and Other Writings. Tate.
Kunst, M. (2016). Muerte Sin Fin, MMK Frankfurt.
Mor-charpentier.com (2016). Teresa Margolles.
PBS. (2014). The Secret Life of Babies.