While looking at a possible kindergarten for our 4-year-old, I stumbled on a bin full of these colored wooden blocks in one of the classrooms. I remember these blocks from my classroom in 2nd grade. The shortest stick is a cube, and the longest is ten cubes. You can use them to teach arithmetic, by putting them together end to end and seeing how they line up, arranging them into rectangles, and so on.
But what caught my eye was something very different: according to my synesthesia, the first three blocks are all exactly the right colors. In particular, the unit block, being unpainted wood, perfectly captures the tendency of the number 1 to hover between white and yellow in my mind. I have vivid memories of playing with these blocks, assembling them into shapes, in that 2nd grade classroom. Could this be the origin of my synesthetic map? It feels too right to be a total coincidence. And yet, none of the colors from 4 through 10 match my mappings at all.
Apparently the blocks are called Cuisenaire Rods (or rechenstäbchen) and their colors have not changed substantially since the 1950′s. This means that thousands of synesthetic children may be exposed to these blocks during their formative years. I wonder if anyone else had their colors influenced in this way?
I’m a big fan of color coding. I use it to help me wrap my head around complex tasks, like computer animation. I’m also a pretty harsh judge of color coding schemes, especially for transit systems. Growing up in New York spoiled me for good in that regard: the subway there has its flaws, but color is not one of them. Having synaesthesia also makes me tend to organize names by color in my head (but usually only in my head, since nobody else shares my personal alphabet of colors.)
One of the problems with any color coding scheme is that the more things you need to code, the harder it gets to choose distinct colors. But where exactly is the limit? That’s the subject of this interesting paper, A Colour Alphabet and the Limits of Colour Coding (PDF) by Paul Green-Armytage. The lengths these folks went to to understand the problem are impressive. The paper also has great sentences like “Ivan is the colour of the letter G but four people saw it as Adam.” (Thanks to Mike K. for the link!)
Certified math nut Sondra Eklund has made an awesome sweater. Before you read her explanation, take a look at it and see if you can figure out how it works.
Of course, the synesthete in me says her color choices are all wrong. But she’s coloring a different animal here (primes, not numerals) so there’s no real way to be “right”. Regardless, I want this as a T-shirt!
I was home sick from work today, too sick to talk or really get out of bed and do anything– but fortunately not too sick to tap on a keyboard for a while. So I cracked open my long-neglected laptop and downloaded the latest version of Processing, which for those of you who don’t know it, is a really cool programming environment designed for artists. It’s a great big toybox full of fun gadgets, with plenty of examples to crib from, so you can just start with something interactive right away, and tinker with it until it does what you want–or does something completely unexpected.
It’s funny, because I was just talking with a friend the other day about watercolor, and how the happy accidents are what make that medium so much fun. We were comparing it to our day jobs in computer animation, where everything that happens is deliberate (not to mention expensive.) So it’s nice to see that happy accidents can happen in the computer once in a while too.
Neuroscientist Olympia Colizoli has done an interesting experiment where she tried inducing synaesthesia in non-synaesthetes:
To test the idea, they gave seven volunteers a novel to read in which certain letters were always written in red, green, blue or orange (see picture). Before and after reading the book, the volunteers took a “synaesthetic crowding” test, in which they identified the middle letter of a grid of black letters which were quickly flashed onto a screen. Synaesthetes perform better on the test when a letter they experience in colour is the target letter.
The volunteers performed significantly better on this test after training compared with people who read the novel in black and white.
I’m curious as to how significant the effect turned out to be for non-synaesthetes. (I also wonder: what was the novel? Something by Nabokov maybe? ;-) Unfortunately I can’t find Colizoli’s data on line anywhere, as her research appears to have been presented as a conference poster session rather than a full publication. But hopefully we’ll be hearing more about this in the near future…
Update: You can read a more detailed abstract of Colizoli’s experiment over at synesthesia.info.
Digging through some old archives, I found this picture, which sums up one of the frustrating aspects of colored-letter synaesthesia. There are so many colored letters in the world, but to any synesthete, most of them will be wrong. I actually sorted through this entire bin of foam letters to pull out the ones that are colored correctly according to my synesthetic map. It’s the tiny pile on the right. Yes, that’s all of them.
For someone with colored-letter synesthesia, these kids’ toys are usually a frustrating thing to look at, because they generally get my colors completely wrong. So when I see one that gets more than a couple of letters even close to correct, I notice. This one nails the colors of B, P, S and Y, and is well within reason on M, R, and W. Given that orange and pink aren’t in this set’s pool of colors to choose from, even the E and the U are pretty close. Would I buy this set because of that? No, but it did make me stop and take a second look…
Christian Faur is an artist who makes these wonderful image-sculptures out of custom-cast crayons. The work itself is very Rungy Chungy and appealing to the eye. And Faur apparently has a thing for certain mathematicians. But it also turns out that he’s encoded synesthetic messages into several of his pieces:
Further, I have developed a mapping system that translates the English alphabet into twenty six discrete colors and I use these crayon “fonts” to add words and language to each of the pieces in the show… The direct representation of language in each piece further imbues the works with meaning and brings an aspect of color into each composition reminiscent of DNA coding. The alphabetic key at the lower left of each panel allows the viewer to interpret the individual words written throughout the various panels.
I gather that Faur does not actually have synesthesia himself, but this system makes perfect sense to me. If only he’d chosen his colors differently, I might be able to read the text straight up without the key! (Although it’s pleasing to note that his C, E, and Z are all perfect matches for my own.)