# Synesthetic Explorations: An Autoethnographic Study on Music, Color, and Creativity

Synesthetic Explorations: An Autoethnographic Study :
| Author | Arnaud Quercy |
| Research Focus | Synesthesia, Art, Music |
| Methodology | Autoethnography |
| Draft Status | 2024 |

## Introduction

TODO:
Contextualization: Start by briefly introducing synesthesia and its significance in both scientific research and artistic practice. Personal Experience: Mention your early experiences with synesthesia and how they shaped your perception of the phenomenon. Research Question: Clearly state the central question of your study—how color blindness and relative pitch may affect synesthetic experiences, and how this has implications for the diagnosis and understanding of synesthesia.
CURRENT:
In a world where sensory experiences increasingly overlap and challenge traditional boundaries, Synesthesia stands out as a phenomenon of profound significance. Both scientifically and artistically, it offers unique insights into how the brain integrates different sensory modalities. For me, as an artist and musician who also lives with color blindness, synesthesia is not merely a condition—it is a pivotal element of my creative practice, influencing how I perceive and interpret the world around me.
My journey with synesthesia began subtly, manifesting as fleeting associations between sounds and colors, which became more pronounced as I delved deeper into music and visual arts. However, unlike typical synesthetes who report consistent and vivid color associations, my experiences have been marked by inconsistency—a characteristic that I have come to understand as being deeply influenced by my color blindness.
This study is an autoethnographic exploration of how synesthesia, in conjunction with color blindness, informs and shapes my creative process. Autoethnography, with its emphasis on personal experience as a valid form of scholarly inquiry, allows me to critically engage with my sensory experiences while situating them within broader cultural and artistic contexts. By systematically examining how these experiences manifest across the chromatic scale and within my artistic work, this research seeks to uncover new insights into the intersection of sensory perception, artistic expression, and the impact of sensory impairments like color blindness.
Through this study, I aim to contribute to the broader discourse on synesthesia—not merely as a neurological curiosity, but as a dynamic force that can be harnessed for creative exploration. By offering a detailed account of my personal experiences, supported by empirical data and theoretical analysis, this research provides a framework for understanding how sensory impairments can influence and even enrich the synesthetic experience.

## Theoretical Framework

TODO:
Understanding Synesthesia: Provide a background on synesthesia, including how it’s typically diagnosed and understood. Highlight any gaps or limitations in these traditional approaches, particularly regarding factors like color blindness and relative pitch.
Emerging Theories: Introduce recent theories that suggest synesthesia might not be accurately diagnosed in individuals with sensory differences. Explain how these theories inform your research and justify the need for your study.

### Conceptual Foundation and Philosophical Positioning
#### Autoethnography and Philosophical Framework

This study employs **autoethnography** as its core methodology, allowing for the integration of personal narrative with scholarly analysis. Rooted in phenomenology and interpretivism, autoethnography validates subjective experience as a legitimate form of scholarly inquiry. Through this approach, I explore how my synesthesia, complicated by color blindness, shapes and informs my creative process as both an artist and a musician. The fluid and context-dependent nature of my synesthetic experiences challenges traditional views of synesthesia as a stable, consistent phenomenon. By utilizing phenomenology and the concept of "thick description" as developed by anthropologist Clifford Geertz, this study seeks to document and analyze the complexities of my sensory experiences in a richly detailed manner, contributing to a deeper understanding of the interplay between sensory perception, artistic expression, and sensory impairments​.

#### Synesthesia as a Model for Sensory Integration and Identity Formation

Synesthesia provides a unique model for understanding how the brain integrates sensory information, particularly when normal sensory pathways are disrupted by conditions such as color blindness. This study examines how the variability introduced by sensory impairments influences my synesthetic experiences and, in turn, shapes my identity as an artist. By exploring the intersections of synesthesia, sensory integration, and personal identity, this research highlights the adaptability of sensory processing in creative practice. The discussion also considers how these factors influence artistic output, questioning traditional notions of consistency and harmony in art. Through this exploration, the study sheds light on the broader implications of synesthesia for understanding sensory integration and identity formation​.

#### Contextual Influence and Ethical Considerations

The context in which a synesthetic experience occurs plays a crucial role in shaping its nature, challenging the idea of synesthesia as a purely automatic and consistent phenomenon. My experiences demonstrate that the same stimuli can evoke different responses depending on factors such as emotional state, environmental conditions, or the presence of sensory impairments like color blindness. A significant part of this variability stems from my relative pitch and the imprecisions in perceiving semitones, which are further influenced by levels of tiredness, concentration, and the inherent challenges of colorblindness. This variability raises important ethical and epistemological questions in synesthesia research, particularly regarding the accuracy of traditional assessments. This study advocates for more nuanced and personalized methodologies that account for these discrepancies, ensuring that the full spectrum of synesthetic experiences is represented and understood. Such an approach is essential for advancing both the scientific understanding of synesthesia and the ethical responsibilities of researchers in this field​.

### Neurological Basis of Synesthesia

Synesthesia, a condition characterized by the involuntary blending of senses, has been extensively studied through various theoretical models that explore its neurological underpinnings. One of the most prominent theories is the **Cross-Activation Model**, which posits that synesthesia arises from increased connectivity between adjacent brain regions, such as the visual word form area and color-processing area hV4. This model suggests that synesthesia results from a failure of the brain's normal pruning process during development, leading to persistent, atypical connections that cause the automatic association of, for example, colors with letters or numbers. This theory has been supported by neuroimaging studies that show heightened connectivity in synesthetes, particularly in regions responsible for processing the inducer and concurrent sensory modalities.
Another significant theory, the **Long-Range Disinhibited Feedback Model**, proposes that synesthetic experiences occur due to disinhibited feedback from multisensory regions, such as the temporo-parietal-occipital junction, back to primary sensory areas. This feedback mechanism allows for the crossing of sensory modalities, resulting in the perceptual experiences typical of synesthesia. Complementing these theories is the **Re-entrant Processing Model**, which suggests that abnormal re-entrant processing, where neural activity from higher-order areas feeds back into primary sensory regions, could account for the vividness and consistency of synesthetic perceptions. Additionally, the **Hyperbinding Model** argues that synesthesia could stem from an overactivation of parietal mechanisms responsible for binding different sensory inputs into a unified perceptual experience, leading to exaggerated connections between otherwise unrelated sensory stimuli.
These models are not mutually exclusive and may collectively contribute to our understanding of synesthesia's neural basis. For instance, research by Hubbard (2007) highlights that these different models might represent various aspects of the same underlying neural architecture, reflecting the complexity of synesthetic experiences. Moreover, the hereditary nature of synesthesia has been discussed within the framework of genetic and evolutionary considerations. Some researchers, like Ramachandran and Brang (2013), suggest that the genes responsible for synesthesia might confer cognitive advantages, such as enhanced creativity or sensory processing, which could explain why these traits have been conserved through evolution.
Finally, synesthesia has been proposed as a powerful model for understanding consciousness. As explored by Sagiv and Frith (2014), synesthesia challenges traditional theories of perception and consciousness by demonstrating that sensory experiences can be inherently cross-modal. This cross-modality forces a reconsideration of how different sensory inputs are integrated into a unified conscious experience, offering valuable insights into the neural correlates of consciousness. These theoretical models collectively underscore the intricate and multifaceted nature of synesthesia, highlighting its significance not only as a neurological curiosity but also as a window into broader questions about brain function, perception, and consciousness.

### Variability and Borderline Cases of Synesthesia

Synesthesia, traditionally viewed as a stable and consistent phenomenon, has been increasingly recognized for its variability and the presence of borderline cases that challenge the classical understanding of the condition. While many forms of synesthesia involve consistent and lifelong associations between stimuli and sensory experiences—such as associating specific colors with letters or sounds—recent research suggests that synesthetic experiences can also be dynamic, context-dependent, and influenced by various external factors.
A key area of interest is the idea that synesthesia may exist on a continuum, where different individuals experience varying degrees of consistency and intensity in their synesthetic perceptions. This notion challenges the traditional view of synesthesia as a discrete, all-or-nothing condition and instead suggests a more fluid and diverse landscape of sensory experiences. For instance, some synesthetes report that their synesthetic associations are influenced by their emotional state or the context in which they encounter the inducing stimulus. This variability is particularly evident in cases where synesthetic experiences change over time, either becoming more pronounced or fading as the individual ages.
Borderline cases of synesthesia further complicate the understanding of this phenomenon. These cases often involve experiences that resemble synesthesia but do not fully meet the criteria for traditional diagnoses. For example, induced synesthesia—where synesthetic experiences are temporarily brought on by external factors such as drugs, sensory deprivation, or intense meditation—blurs the line between genuine synesthesia and other forms of cross-modal perception. The work of researchers such as Kirschner and Nikolić (2017) has highlighted the concept of "one-shot synesthesia," where unique, non-recurring synesthetic experiences are triggered by significant emotional or cognitive events. These experiences, while not consistent or lifelong, offer insights into the brain's capacity for generating novel sensory associations under certain conditions.
Moreover, synesthesia can be cultivated or enhanced through practices like meditation, as shown by studies that report higher incidences of synesthetic experiences among advanced meditators compared to the general population. This finding raises intriguing questions about the potential plasticity of the brain in developing synesthetic-like experiences in individuals who do not naturally possess them. This variability in synesthetic experiences underscores the complexity of defining and diagnosing synesthesia, as it suggests that synesthesia is not a monolithic condition but rather a spectrum of related phenomena that can be influenced by a range of cognitive and environmental factors.
This evolving understanding of synesthesia has significant implications for how the condition is studied and understood. It challenges researchers to reconsider the boundaries of synesthesia, recognizing that the condition may be more widespread and variable than previously thought. As synesthesia continues to be examined through both neurological and experiential lenses, the diversity of its manifestations will likely prompt a re-evaluation of existing theories and diagnostic criteria, paving the way for a more nuanced understanding of this fascinating perceptual phenomenon.

### Challenges in Diagnosing Synesthesia

Diagnosing synesthesia presents a unique set of challenges due to the highly subjective nature of the condition and the variability in how it manifests among different individuals. Traditional diagnostic methods rely heavily on self-reported experiences, where individuals describe consistent and involuntary sensory associations, such as seeing colors when hearing sounds or associating specific tastes with particular words. However, the subjective nature of these reports can make it difficult to establish objective criteria for diagnosis, especially when synesthetic experiences vary widely in intensity and consistency across individuals.
One of the significant challenges in diagnosing synesthesia is distinguishing it from other forms of cross-modal perception and sensory processing disorders. For example, individuals with sensory impairments, such as color blindness or hearing loss, may report experiences that resemble synesthesia but are fundamentally different in origin. The interaction between color blindness and synesthesia, as explored in studies like the case of "R" by Rich et al. (2007), reveals that color-blind synesthetes may experience "phantom" colors—colors that they cannot physically perceive but associate with specific stimuli due to their synesthesia. This intersection complicates the diagnostic process, as it requires careful differentiation between synesthetic experiences and sensory compensations or anomalies resulting from impairments.
Furthermore, the diagnosis of synesthesia is challenged by the existence of "acquired" synesthesia, where synesthetic experiences develop later in life, often following neurological changes, trauma, or sensory training. These cases challenge the traditional view of synesthesia as a congenital condition, suggesting that it may be possible to induce synesthetic-like experiences in non-synesthetes through targeted interventions. The variability in the onset and development of synesthetic experiences complicates the establishment of clear diagnostic criteria, as it suggests that synesthesia may not be a fixed trait but rather a dynamic process influenced by both genetic and environmental factors.
Another complicating factor in the diagnosis of synesthesia is the reliance on tests that may not fully capture the complexity of an individual's synesthetic experiences. Traditional tests often focus on the consistency of sensory associations over time, but this approach may not account for the influence of contextual factors, emotional states, or cognitive biases that can alter synesthetic perceptions. For instance, individuals with relative pitch, who do not have perfect pitch, might experience distortions in their synesthetic associations based on their expectations of what a sound should be rather than its actual pitch. This raises important questions about the reliability and validity of current diagnostic tools, suggesting the need for more nuanced and individualized testing protocols.
The challenges in diagnosing synesthesia underscore the importance of developing more sophisticated methods for evaluating and understanding this complex phenomenon. As research continues to reveal the diverse ways in which synesthesia can manifest and interact with other sensory and cognitive processes, it becomes increasingly clear that a one-size-fits-all approach to diagnosis may be inadequate. Instead, a more flexible and comprehensive approach that takes into account the variability and contextual influences on synesthetic experiences is needed to accurately identify and study this intriguing condition.

### Implications for Creativity, Art, and Future Research

Synesthesia has long been a source of fascination in the fields of creativity and the arts, with many synesthetes attributing their unique sensory experiences to enhanced creative abilities. This connection between synesthesia and creativity is particularly evident in the works of artists and musicians who have used their synesthetic perceptions as inspiration for their creative output. For instance, Wassily Kandinsky, a renowned painter, famously explored the interplay between color and music, creating abstract works that sought to evoke the same emotional responses through visual stimuli as music does through sound. Similarly, the composer Olivier Messiaen used his synesthesia to create compositions where specific colors were paired with particular musical chords, resulting in a multisensory experience that transcended traditional auditory boundaries.
The implications of synesthesia for creativity are not limited to individual artistic expression; they extend to the broader understanding of how sensory experiences can influence cognitive processes. Research suggests that synesthetes may possess heightened abilities in certain cognitive domains, such as memory and perception, which could contribute to their creative capabilities. For example, grapheme-color synesthetes often demonstrate superior visual recognition memory, potentially because their synesthetic experiences create additional mnemonic cues that facilitate recall. This enhanced memory ability might also explain why synesthesia is frequently found among creative professionals, particularly those in the visual and performing arts.
In addition to influencing individual creativity, synesthesia offers intriguing possibilities for future research, particularly in understanding how the brain integrates sensory information and how these processes can be harnessed to enhance creativity. The concept of "latent synesthesia" suggests that synesthetic-like cross-modal associations may be more widespread than previously thought, even among non-synesthetes. This idea opens up new avenues for exploring how synesthetic experiences can be cultivated or enhanced through training or sensory practices, such as meditation. Research by Walsh (2005) indicates that individuals engaged in meditation may experience heightened perceptual sensitivity, potentially unmasking latent synesthetic abilities. These findings suggest that synesthesia could serve as a model for studying neuroplasticity and the brain's ability to rewire itself in response to sensory training or environmental changes.
Future research in this area could also focus on the potential for synesthesia to be induced in adults through specific training programs. Studies have shown that adults can develop synesthetic associations between letters and colors after undergoing targeted training, demonstrating both behavioral and physiological markers similar to those of congenital synesthetes. This research challenges the traditional view of synesthesia as an exclusively congenital condition and highlights the potential for using synesthesia as a tool to enhance cognitive performance and creativity.
In conclusion, the study of synesthesia not only offers insights into the neural mechanisms underlying sensory perception but also provides a rich source of inspiration for the arts and a promising area for future research. By understanding how synesthetic experiences shape creativity and exploring the potential to cultivate these experiences, researchers can uncover new ways to enhance human cognitive abilities and foster innovative approaches in both the scientific and artistic realms.

## Empirical Analysis: Testing and Discovery

TODO:
Synesthesia Assessments: Describe the tests you underwent, including how they showed inconsistent results. Discuss the challenges posed by your color blindness and relative pitch.
Analysis of Inconsistencies: Present your analysis that suggests these inconsistencies are not just anomalies but are influenced by your sensory differences. Use data to support the idea that traditional synesthesia tests may not fully capture your experiences due to these factors. Implications for Synesthesia Diagnosis: Argue that your findings challenge the current diagnostic criteria for synesthesia and suggest that factors like color blindness should be considered.
CURRENT :

### Thick Descriptions of Synesthetic Experiences

As part of the autoethnographic approach outlined earlier, this section delves into the "thick description" of my synesthetic experiences. These personal narratives provide a richly detailed account of how synesthesia manifests in my life, particularly in the context of my musical journey. By documenting these experiences, I aim to offer insights into the fluid and often unpredictable nature of synesthesia, especially as it intersects with color blindness and my evolving identity as a musician and artist.

#### Early Encounters with Synesthesia: The Clarinet and Saxophone Years

My journey with synesthesia began subtly during my early years of playing the clarinet, starting at the age of ten. It was not an overwhelming or vividly striking phenomenon but rather a gentle, sensory warmth that accompanied specific musical notes. The note Bb, for instance, consistently evoked a cool blue, while D resonated with a reddish hue. At the time, I attributed these color associations to the particular fingering on the clarinet, believing that the physical act of playing these notes influenced my perception. This sense of color extended as I transitioned to the tenor saxophone, another Bb instrument, where the same notes retained their color associations despite the shift in instrument.
However, these experiences were always accompanied by a sense of doubt due to my awareness of my color blindness. Throughout my life, I have mixed up colors like red with brown, and even sometimes with green. Yellow and green often appear similar to me, and at times, blue and green can be difficult to differentiate. This color confusion made anything involving color somewhat suspect in my mind, and I instinctively distrusted my eyes. As a result, I didn’t give much consideration to these color associations, accepting them as an odd quirk rather than something to be deeply explored.
When I later picked up the baritone saxophone, an Eb transposing instrument, I noticed a shift in these associations. The Bb now took on a greenish-blue tint, and D appeared more orange-red. This change puzzled me, as the fingerings were identical across the saxophones, yet the colors had shifted. It seemed that the transposition between Bb and Eb instruments influenced my color perception, helping me navigate the differences in pitch without the need for conscious mental calculations. Despite these shifts, I chose not to focus too intently on them; the colors were present but not overwhelming, emerging more clearly when I concentrated on the sustained tones and the vibrations of the notes.

#### A Confusing Revelation: Synesthesia at the Piano

It wasn’t until I reached my forties and began formal music education at the IMEP Paris College of Music that my synesthetic experiences became both clearer and more perplexing. The piano, with its wide range of pitches, brought these experiences into sharper focus, yet introduced new inconsistencies. Playing an Ab returned a distinct reddish color, while a Bb major chord shimmered with yellows and oranges. Strangely, the same Ab as an isolated note appeared blue, and playing a simple C brought forth a vibrant red. These color shifts seemed erratic, challenging my previous associations from the saxophone and clarinet. Ear training exercises, which focused on pitch recognition, further complicated matters. Although I struggled with the exercises, I consistently perceived colors during these intervals—blues, yellows, and reds that seemed to correspond to the notes but lacked the predictability I once assumed.
The piano’s harmonic richness amplified these experiences. When allowing the strings to resonate and harmonize, certain keys stood out vividly: Ab as a deep blue, C as a brilliant red, and D as an orange-yellow blend. Other keys fell into more ambiguous shades of blue, purple, or yellow. These experiences, though intriguing, left me uncertain. Given my color blindness, I remained skeptical about these associations, unsure if they were reliable indicators of true synesthesia or simply artifacts of my color perception challenges. At this stage, I had not yet heard of synesthesia and simply accepted these color associations as part of my personal learning process. I didn’t discuss these perceptions with others, believing they were a natural, albeit private, aspect of my musical development.

#### A Deeper Exploration: Recognizing and Analyzing Synesthesia

It was only a few years ago that I stumbled upon the concept of synesthesia and began to understand that these color associations were not a common experience among musicians. The realization that what had accompanied me since my first clarinet lessons might be a form of synesthesia was both exciting and unsettling. However, the lack of systematicity and the inconsistency in the vividness of certain colors tempered my enthusiasm. Moreover, my color blindness continued to cast doubt on the reliability of these experiences. Rather than feeling validated, I found myself questioning the accuracy of my perceptions. Determined to understand this phenomenon better, I embarked on a more systematic exploration of my synesthetic perceptions.
During this period of exploration, I found profound inspiration in the works of Olivier Messiaen, a composer who also experienced synesthesia. Messiaen meticulously described the colors he associated with specific chords and harmonies in his music, using these associations as foundational elements in his compositional process. For example, he perceived the chord of E major as a vibrant blue and A major as green. Messiaen’s ability to seamlessly blend his synesthetic perceptions with his musical compositions provided me with both validation of my sensory experiences and a model for integrating these sensations into my art. Immersing myself in Messiaen’s work was a revelation; it gave me a framework for understanding my own synesthetic experiences and inspired me to delve deeper into the intricate intersection of sound and color within my artistic creations.
I began painting what I was “hearing,” hoping that by externalizing these colors, I could gain clearer insights into the patterns—or lack thereof—that governed my synesthesia. This artistic practice became a form of self-analysis, allowing me to document the nuances of my sensory experiences and their variability. The act of painting these perceptions brought a new dimension to my understanding, offering a tangible way to explore the complex interplay between sound and color in my mind. Through this process, I sought to unravel the underlying mechanisms of my synesthesia, confronting its inconsistencies and embracing the unique way it shapes my artistic and musical expression.

#### Artistic Experiments and Initial Note-Color Mapping

My journey to map note-color correspondences began as a series of artistic experiments aimed at capturing the sensory impressions evoked by musical chords. Initially, I struggled with associating singular notes with specific colors due to conflicting perceptions. For example, while the notes C and G were consistently perceived as red or reddish, other notes, such as B, E, and F♯, proved elusive, making it difficult to assign them a definitive color. Recognizing the limitations of focusing solely on individual notes, I shifted my approach to exploring triads of major and minor chords. This method allowed for a more holistic connection between my emotional and sensory impressions and their corresponding colors.
I selected a series of six chords—three major and three minor—commonly used in my jazz standards repertoire. These chords were chosen to ensure that most notes within the chromatic scale were represented. To avoid the dominant perception of red typically associated with C and G, I deliberately excluded these notes as tonics. The series included the following chords: Bb Major (Bb, D, F), Eb Minor (Eb, Gb, Bb), Ab Major (Ab, C, Eb), C# Minor (C#, E, G#), F# Major (F#, A#, C#), and B Minor (B, D, F#). For my medium, I chose watercolor on paper, allowing for maximum flexibility and ease in layering my diffuse feelings. This choice facilitated the creation of abstract expressionist works that combined soft pastels with vivid hues, providing a rich basis for analyzing and identifying common patterns.
The results of these initial experiments were intriguing but inconclusive. While certain trends, such as the frequent association of shades of blue or green with notes like Bb and F#, and the appearance of yellows and oranges in various contexts, began to emerge, the scope of the data was insufficient to draw definitive conclusions. Several factors contributed to this ambiguity:
Limited Data and Scope: The number of paintings and the range of chords explored in this initial phase were not sufficient to establish a comprehensive mapping of note-color correspondences. A much larger dataset is necessary for a more robust analysis.
Lack of Independent Verification: The paintings were created without independent tests to verify pitch accuracy or color sensitivity, leaving room for potential inconsistencies in the resulting correlations.
Balancing Aesthetics with Accuracy: Although these works were spontaneous in spirit, they took considerable time to complete. During this process, I may have prioritized aesthetic considerations over the accuracy of the synesthetic experience, which could have compromised the validity of the findings.
These observations highlighted the need for a more controlled and systematic approach to studying the relationship between musical notes and color perception. The initial experiments, while valuable for generating hypotheses and guiding further inquiry, underscored the importance of integrating more rigorous methodologies into my research. This realization led to the development of the subsequent phases of the study, encompassing theoretical exploration, analytical modeling, and creative synthesis, to build a more comprehensive understanding of synesthetic experiences.

### Methodological Approach

This study's methodological approach embraces the inherently personal and subjective nature of synesthesia, particularly given the complexities introduced by color blindness. While traditional research often emphasizes objectivity, this autoethnographic study integrates personal narrative with empirical data analysis to explore the intersection of color blindness, synesthesia, and musical pitch perception. The variability in color associations with musical notes—affected by factors such as the specific pitch, the instrument used, and the context of the experience—necessitates a methodology that is both flexible and rigorous.

#### Rationale for Method Selection

To ensure a comprehensive exploration, I selected specific tools and methods that align with the study's goals. The Synaesthesia Battery (Eagleman et al., 2007) was chosen for its ability to measure the consistency of color associations over time. This tool's repeated testing protocol allowed me to assess the stability of my synesthetic experiences across different contexts.
In addition, a Pitch Perception Test was used to evaluate my relative pitch abilities, providing insights into how synesthesia might interact with my musical perception. The test also offered a way to cross-reference these abilities with the synesthetic color associations, helping to uncover any patterns or inconsistencies.
Finally, the Ishihara Test for Color Blindness was employed to diagnose and understand the extent of my color vision deficiency. This diagnostic tool was crucial in contextualizing the findings from the synesthesia and pitch perception assessments, revealing how color blindness might influence the consistency and vividness of my synesthetic experiences.

#### Data Collection

Data collection involved a series of structured tests and observations aimed at assessing the consistency of my synesthetic experiences, the accuracy of my pitch perception, and the impact of my color blindness. The tests were designed to capture both quantitative and qualitative data, allowing for a nuanced analysis of the interplay between these elements.

#### Synesthesia Assessment

The Synaesthesia Battery required me to associate specific colors with musical notes across multiple trials. The geometric distance between color associations across trials was calculated to quantify consistency, with lower scores indicating stronger synesthetic associations. Tool Used: The Synaesthesia Battery (Eagleman et al., 2007) was employed to measure the consistency of my synesthetic color associations. This tool requires repeated testing of color associations with musical notes to determine how stable these associations are over time.

#### Pitch Perception Test

The Pitch Perception Test involved identifying musical notes without a reference tone, with accuracy measured by the percentage of correct identifications and the mean absolute deviation from the actual pitch. This test provided a benchmark for evaluating how synesthesia might influence pitch recognition.
Tool Used: A pitch identification task was conducted to evaluate my relative pitch abilities.
Metrics: - Percentage Correct: This is the proportion of notes correctly identified out of the total notes played. - Mean Absolute Deviation: This measures how far off, in semitones, the participant's incorrect responses are from the actual pitch. A lower deviation indicates that the participant's errors are closer to the correct pitch, suggesting a better relative pitch sense.
Interpretation: Individuals with absolute pitch typically score higher than 70% on accuracy and have a mean absolute deviation of less than 0.5 semitones.
Procedure: In the synesthesia test, participants are asked to associate colors with specific pitches across multiple trials. The consistency of these color associations is then measured.
Metrics: Synaesthesia Score: This score is calculated by measuring the variation in color choices across trials for the same pitch. A lower score indicates higher consistency and thus a stronger indication of synesthetic associations.

#### Color Vision Test

Tool Used: The Ishihara Test for Color Blindness was used to confirm the type and extent of my color vision deficiency. This test is a standard diagnostic tool that assesses the ability to perceive and differentiate colors. Procedure: The test was administered in a controlled environment, and the results were documented to understand the specific limitations of my color perception. These results were then cross-referenced with the synesthesia assessments to explore how my color blindness might influence the consistency and vividness of my synesthetic experiences.

#### Data Analysis

The data collected were analyzed using a combination of qualitative and quantitative methods:
Geometric Distance Calculation: For the synesthesia assessments, geometric distances were calculated between the RGB values of color associations for each musical note across different trials. This provided a quantitative measure of the consistency of my synesthetic experiences. The results were then normalized to account for the number of data points, ensuring that the analysis was consistent with the standard methods used in synesthesia research.
Pitch Perception Accuracy: The results of the pitch perception test were analyzed to determine my accuracy in identifying pitches. This was compared to typical results for individuals with and without perfect pitch, allowing for an assessment of how my synesthetic experiences might influence my musical abilities.
Cross-Referencing with Color Vision Test: The results of the color vision test were used to contextualize the findings from the synesthesia and pitch perception assessments. This cross-referencing allowed for a deeper understanding of how color blindness affects the stability and vividness of synesthetic experiences.

### Results and Analysis

This section presents the empirical findings alongside an analysis of how color blindness has influenced my synesthetic experiences. The Analytical Model evaluates the consistency of synesthetic color associations, the accuracy of pitch perception, and the integration of these sensory experiences into artistic practice.
Pitch to Color Accuracy Across Batteries :
| PITCH | BATTERY 1 | BATTERY 2 | BATTERY 3 | AVG |
| A | 1.39 | 0.28 | 3.97 | 1.88 |
| As | 0.70 | 0.24 | 0.78 | 0.57 |
| B | 1.17 | 1.51 | 3.04 | 1.91 |
| C | 0.35 | 0.57 | 3.98 | 1.63 |
| Cs | 1.33 | 3.47 | 3.58 | 2.79 |
| D | 1.04 | 1.54 | 2.67 | 1.75 |
| Ds | 0.64 | 0.92 | 3.82 | 1.79 |
| E | 0.49 | 1.21 | 4.01 | 1.90 |
| F | 0.92 | 0.40 | 0.56 | 0.63 |
| Fs | 0.72 | 0.61 | 0.42 | 0.59 |
| G | 0.82 | 1.15 | 4.20 | 2.06 |
| Gs | 0.47 | 0.63 | 4.50 | 1.87 |
| hiC | 1.48 | 1.39 | 0.75 | 1.21 |
| AVG | 0.88 | 1.07 | 2.79 | |

#### Consistency of Synesthetic Associations

The synesthesia assessments revealed significant variability in color associations with musical notes. For example, the note C, typically associated with red, showed a progressive increase in variation across different trials. In the third battery, the color shifted from red to green, indicating a substantial change in the synesthetic experience. This shift suggests that factors such as cognitive load, fatigue, or the inherent variability of synesthesia might influence these associations.
This variability is further complicated by my color blindness, which directly impacts the consistency of these associations. For instance, the difficulty in distinguishing between greens and reds led to discrepancies in color associations that might otherwise be more stable in non-color-blind individuals.
C Note Example:
Data Overview The table presents RGB values for the pitch C across three different battery tests, along with their calculated variations (R VAR / 255, G VAR / 255, B VAR / 255) normalized over a scale of 255. The data also includes a Total Score for each battery and the identified color name corresponding to the RGB values.
Pitch C: Synesthetic Color Variations Across Batteries :
| Battery test# | r | g | b | R VAR / 255 | G VAR / 255 | B VAR / 255 | Total Score | Color Name |
| 1 | 243 | 29 | 7 | 0.02 | 0.01 | 0.02 | 0.05 | Red |
| 1 | 240 | 5 | 13 | 0.01 | 0.09 | 0.02 | 0.13 | Red-Violet |
| 1 | 249 | 27 | 2 | 0.04 | 0.09 | 0.04 | 0.16 | Red |
| | | | | 0.07 | 0.19 | 0.09 | 0.35 | |
| 2 | 247 | 19 | 2 | 0.01 | 0.09 | 0.05 | 0.15 | Red |
| 2 | 252 | 3 | 28 | 0.02 | 0.06 | 0.10 | 0.18 | Red-Violet |
| 2 | 244 | 42 | 15 | 0.03 | 0.15 | 0.05 | 0.24 | Red |
| | | | | 0.06 | 0.31 | 0.20 | 0.57 | |
| 3 | 248 | 39 | 7 | 0.78 | 0.56 | 0.55 | 1.89 | Red |
| 3 | 246 | 15 | 7 | 0.01 | 0.09 | 0.00 | 0.10 | Red |
| 3 | 50 | 183 | 148 | 0.77 | 0.66 | 0.55 | 1.98 | Green |
| | | | | 1.55 | 1.32 | 1.11 | 3.98 | |
Battery 1: RGB Values:
Red dominates in all three trials, with minor variations in the green and blue components. The colors identified are Red and Red-Violet, indicating consistency in the red spectrum but with slight shifts toward violet due to green and blue variations. Variations and Scores:
The variations across the three trials are relatively low: R VAR: 0.07 G VAR: 0.19 B VAR: 0.09 Total Score: 0.35 Interpretation: This indicates a relatively consistent synesthetic response for pitch C during the first battery, staying largely within the red spectrum.
Battery 2: RGB Values:
Similar to Battery 1, red remains dominant, with some increased variation in green and blue, introducing a Red-Violet color in one trial. Variations and Scores:
The variations show a slight increase compared to Battery 1: R VAR: 0.06 G VAR: 0.31 B VAR: 0.20 Total Score: 0.57 Interpretation: The results are slightly less consistent than Battery 1, with some drift toward violet tones, but still predominantly within the red spectrum.
Battery 3: RGB Values:
There’s a significant deviation in the third trial where the color shifts from red to green, indicating a substantial change in the synesthetic experience for pitch C. Variations and Scores:
The variations are notably higher in this battery: R VAR: 1.55 G VAR: 1.32 B VAR: 1.11 Total Score: 3.98 Interpretation: The high variation and the shift to green suggest a major inconsistency in the synesthetic response during this test. This could be attributed to external factors or a change in cognitive processing at the time of testing.
Summary:
Consistency: The results indicate a progressive increase in variation and a shift in the synesthetic color associated with pitch C across the three batteries. While Batteries 1 and 2 show relatively stable responses within the red spectrum, Battery 3 displays significant inconsistency, with a marked shift to green.
Impact on Synesthesia: The shift in color perception, especially in Battery 3, suggests that factors such as cognitive load, fatigue, or the inherent variability in synesthesia might be influencing the consistency of color associations. This could imply that while pitch C generally triggers a red response, there are conditions under which this association can significantly change, highlighting the fluid and dynamic nature of synesthesia, particularly in the context of your color blindness.
Overall Consistency:
Across all notes tested, the normalized geometric distances indicated varying levels of inconsistency. For instance, notes such as A# (0.57), F# (0.59) and F (0.63) showed relatively stable color associations, while others like G and C# exhibited higher variability, reflecting the influence of either my color blindness, shifts in semi-tones in my relative pitch, and/or a combination of both.

#### Isolating the Impact of Color Blindness - trials on simplified model

My color blindness, particularly the difficulty in distinguishing between certain hues (e.g., greens and reds), directly influenced the consistency of my synesthetic associations. For example, green was frequently inconsistent, absent or replaced by shades of yellow or brown, leading to discrepancies in color associations that might otherwise be more consistent in non-color-blind synesthetes. To isolate the potential "noise" associated with my renditions of "green" tones, I decided to re-run the tests, but to simplify my color associations to focus only on vivid, primary colors that reflect best my synesthetic experiences, while assigning to vivid Green the tones I "see" in yellow shades but for which that I'm quite unsure of.
For instance: C, G, D Notes: These are consistently associated with vivid red or orange. By honing in on a single, strong color, I avoid the confusion that might arise from trying to differentiate between close hues like red and red-orange, oranges and yellows. A♭, B♭, E♭, F Notes: These notes evoke vivid blue (Ab), but also shades purple, a color however less affected by my color vision challenges. Other Notes: For notes that would typically evoke greens or yellows—colors I struggle to distinguish—I simplify by choosing a bright yellow (when i'm sure of the yellow tone), or a bright green (when i'm less sure of its qualification), but careful avoided trying returning mix of yellow+green or blue+green. This approach allows me to test my synaesthetic experiences with a simplified analytical model to accommodate my sensory impairments with the green.

#### Pitch Perception Accuracy

The pitch perception tests demonstrated a strong ability to identify pitches through relative pitch, despite the absence of perfect pitch: The pitch identification tasks revealed a mean accuracy of approximately 56%, with a mean absolute deviation of 0.38 semitones. These results suggest a high level of relative pitch ability, though not at the level of perfect pitch, which typically requires an accuracy greater than 70% and a deviation score below 0.5 semitones.

#### Influence of Synesthetic Experiences

The presence of synesthetic associations appeared to aid in the identification of certain pitches, particularly those with more consistent color associations. For example, the C and G notes, which had lower geometric distance scores, were identified with higher accuracy, suggesting that the more stable synesthetic experiences might reinforce pitch recognition.

### Reflexive Analysis

Reflecting on these findings, it is evident that my color blindness introduces a level of inconsistency in synesthetic experiences that might not be present in non-color-blind individuals. This inconsistency, rather than being a limitation, offers a unique perspective on the variability of synesthesia. The data suggests a strong correlation between musical notes and the color wheel, particularly in the cyclical nature of these associations. However, the "grey zones," particularly around the perception of greens, remain unresolved and are likely influenced by my difficulty in distinguishing between greens, blues, and yellows due to color blindness.
Furthermore, another layer of complexity is introduced by my reliance on relative pitch rather than absolute pitch. The consistency of my synesthetic responses appears to be influenced by this factor. If one adjusts the test batteries by a semitone, much of the data becomes more consistent, suggesting that the variability observed may be partially attributable to the absence of absolute pitch. This raises the question of how pitch recognition and relative tuning might affect synesthetic associations, particularly when the pitch perception is not absolute.
These unresolved questions—particularly regarding the influence of relative pitch and the "grey zones" tied to green perception—open new avenues for exploration. The limitations imposed by my color blindness and the absence of absolute pitch highlight the need for further research. This naturally leads to the exploration within the Creative Model, where the potential cyclicality of color associations, the role of tritones, and the cycle of fifths will be further investigated in a more flexible, artistic context.

## Creative Model: Translating Synesthetic Experiences into Art

The Creative Model serves as a framework for transforming the sensory experiences of synesthesia into tangible artistic outputs. My artistic process is deeply influenced by the intersection of sound and color, shaped by both my synesthetic perceptions and the constraints of my color blindness. This section explores how I navigate these influences to create visual art that reflects the complexities of my sensory world.

### Mapping the Creative Process: From Perception to Expression
#### The Tritone: Discovering the Synesthetic Cycle

The tritone, a musical interval spanning three whole tones or six half steps in the chromatic scale, has a distinctive sound and played a significant role in Western music theory and practice. Historically referred to as "diabolus in musica" (the devil in music) due to its dissonant and unstable nature, the tritone was less favored in the modal music of the Medieval and Renaissance periods, which preferred more consonant intervals. Its tense and unresolved sound arises because the interval divides the octave into two equal parts, creating a sense of balance that lacks a clear tonal center, making it a powerful tool for creating tension and drama in music.
Harmonically, the tritone often appeared as part of dominant seventh chords, creating a strong need for resolution. For example, in the key of C major, the G7 chord (G-B-D-F) contained a tritone between the notes B and F, driving the progression toward the resolution on the tonic chord (C major). This tendency of the tritone to resolve by half steps was a fundamental principle in traditional Western harmony. In contemporary music, the tritone was used more freely and creatively. Jazz, blues, and rock genres often exploited the tritone's unique sound to add color and tension to compositions. Tritone substitutions, where a dominant chord was replaced by another dominant chord a tritone away, were common in jazz harmony, allowing for smoother voice leading and creating interesting harmonic progressions.
My approach to analyzing the tritone in my synesthetic experience was rooted in the natural cyclicality of both the chromatic scale and the color wheel. Recognizing that musical notes followed a cyclical pattern, similar to how colors could be arranged in a circle, I hypothesized that there might be a direct correspondence between the two cycles. The chromatic scale in music comprises twelve distinct pitches, each a half step apart, forming a complete octave. When these notes are arranged in a circular pattern, they create the chromatic circle, highlighting the cyclic nature of musical notes. Similarly, colors can be arranged in a color wheel, a circular diagram showing the relationships between primary, secondary, and tertiary colors. In the context of synesthesia, I saw a potential link between these two circular systems.
I applied this concept by experimenting with tritone pairs. By playing and visualizing tritone intervals, I aimed to observe whether the complementary color theory held true in my synesthetic experience. My findings suggested a consistent pattern: if C (perceived as red) had its tritone F♯ perceived as green, then A♭ (blue) had its tritone D perceived as orange, and B♭ (purple) had its tritone E perceived as yellow. This approach provided a coherent framework for understanding the relationship between musical tritones and their synesthetic color equivalents.
Complementary colors are pairs of colors that, when combined, cancel each other out by producing a grayscale color like white or black. When placed next to each other, they create the strongest contrast and reinforce each other. This relationship is fundamental in color theory and significantly affects visual perception and emotional response. For example, red and green are complementary colors. Red is often associated with energy, passion, and action, while green is linked to growth, tranquility, and balance. When these colors are paired, they create a dynamic visual tension that can be both stimulating and harmonious, evoking a range of emotions from excitement and intensity to calmness and balance.
My exploration of tritones and their complementary colors deepened my understanding of the synesthetic relationship between sound and color. The harmonic tension created by the tritone in music found its perfect analogy in the complementary color concept in visual perception. This duality reinforced the view that my intuitive perceptions were grounded in the fundamental principles of both music theory and color theory.
"This methodical approach not only supports the idea of a cyclic correspondence but also opens new avenues for further research. By documenting more tritone pairs and their color equivalents, I aim to validate and refine the cyclical mapping theory, contributing to a more comprehensive understanding of synesthesia. Exploring different intervals, such as tritones, will further uncover the intricate links between auditory and visual experiences, paving the way for deeper insights into the fascinating world of synesthesia."

#### Colors in Harmony with the Cycle of Fifths

Building on my tritone analysis and its correlation with the color wheel, I initially assumed that the notes would follow the chromatic scale (C, C♯, D, etc.). However, this approach quickly proved inconsistent with my synesthetic perceptions. For instance, I consistently perceive G as reddish, yet, according to the chromatic scale, G should be closer to blue-green—a discrepancy that highlighted the need for a different model.
To resolve this, I turned to the cycle of fifths, a method that naturally aligns with the cyclical nature of musical and color theory. When I applied this approach, everything fell into place: G was consistently perceived as red-orange, C♯ as blue-green, while E♭, A♭, and B♭ aligned with shades of blue, with B♭ becoming clearly associated with purple.
This exploration reinforced my understanding of the deep connection between musical intervals and color perception, particularly when viewed through the lens of the cycle of fifths. The process of validating these correspondences through both the tritone and the cycle of fifths underscores the coherence between auditory and visual experiences in my synesthesia.
Colors Correspondence with the Cycle of Fifths :
| Note | Color |
| C | Red |
| G | Red-orange |
| D | Orange |
| A | Yellow-orange |
| E | Yellow |
| B | Yellow-green |
| F♯ | Green |
| C♯ | Blue-green |
| G♯ | Blue |
| D♯ | Blue-violet |
| A♯ | Violet |
| F | Red-violet |
These theoretical insights into the relationship between musical notes and colors directly inform my artistic process. By aligning my creative choices with these validated correspondences, I am able to translate abstract synesthetic experiences into concrete visual forms. These correspondences necessitated some adjustments, such as B♭ being purple instead of blue, while E became clear yellow. However, they broadly validated the colors perceived in almost all other relationships.
"My methodology demonstrated significant coherence between colors and musical notes, particularly when using the cycle of fifths as a guide. The necessary adjustments only reinforced the validity of the observed correspondences. This work opens new perspectives for sensory exploration, where visual arts and music meet in a harmonious and intuitive manner. The cycle of fifths effectively mirrored the cycle of colors, confirming that each musical note could be consistently paired with a specific color."

### Reflection on Creative Practice and Future Directions

Translating synesthetic experiences into art is an iterative journey. Each artwork refines the interplay between sound and color, shaped by the unique challenges of color blindness and relative pitch. As I continue to explore these dynamics, my goal is to push the boundaries of how synesthesia is understood and represented in visual art, embracing limitations as a source of creative innovation.

## Appendix
### Dataset and Statistical Pitch Analysis

Dataset and Statistical Pitch Analysis :
| Pitch | Data and Analysis |
| A | Data and Analysis |
| A# | Data and Analysis |
| B | Data and Analysis |
| C | Data and Analysis |
| C# | Data and Analysis |
| D | Data and Analysis |
| D# | Data and Analysis |
| E | Data and Analysis |
| F | Data and Analysis |
| F# | Data and Analysis |
| G | Data and Analysis |
| G# | Data and Analysis |
| hi C | Data and Analysis |

### Artistic Experiments and First Experimental Note-Color Mapping

Artistic Experiments and Note-Color Mapping :
| Image and Painting Title | Chord (Triads) | Dominant Colors | Description | Color Diversity |
| "Bb Major - Reflections #1" | Bb Major (Bb, D, F) | Yellow, Green, Orange, Deep Blue, Muted Brown | A mix of yellow, green, and orange patches interspersed with deep blue and muted brown sections. The colors convey warmth and energy, suggesting a dynamic, harmonious experience. | Moderate: The colors are relatively consistent, each occupying distinct and noticeable areas. |
| "Eb Minor - Reflections #2" | Eb Minor (Eb, Gb, Bb) | Various Shades of Blue, Soft Yellow, Muted Green, Soft Pink, Deep Red | A soothing blend of cool and warm tones. Dominant blues with soft yellow, muted green, pink, and deep red. Reflects the introspective and mellow character of the Eb minor chord. | Moderate: Predominantly blue background with additional colors less dominant. |
| "Ab Major - Reflections #3" | Ab Major (Ab, C, Eb) | Orange, Red, Brown, Blue, Black | Warm, earthy tones dominated by orange, red, and brown. Blue and black elements provide contrast and depth, capturing the rich, robust nature of the Ab major chord. | Moderate: Balanced use of warm and cool tones. |
| "C# Minor - Reflections #4" | C# Minor (C#, E, G#) | Blue, Green, Yellow, Brown, Muted Orange | A diverse color palette with a mix of cool (blue, green) and warm (yellow, brown, orange) tones. These colors convey the emotional complexity and depth of the C# minor chord. | High: Balanced distribution of multiple colors, indicating a richer and more intricate visual experience. |
| "F# Major - Reflections #5" | F# Major (F#, A#, C#) | Orange, Yellow, Brown, Blue, Green, Muted Purple | Rich blend of cool and warm tones, with shades of orange, yellow, and brown dominating, and blue, green, and muted purple providing contrast, reflecting the expansive quality of F# major. | High: Complex interplay of warm and cool tones with varied surface coverage. |
| "B Minor - Reflections #6" | B Minor (B, D, F#) | Red, Orange, Yellow, Blue, Green | A varied color palette with both warm (red, orange, yellow) and cool (blue, green) tones. Captures the bittersweet and nuanced character of the B minor chord. | High: Balanced distribution of warm and cool tones, creating a multifaceted visual experience. |
My current findings indicate promising directions, such as the frequent association of shades of blue or green with notes like Bb and F#, and the appearance of yellow and oranges in various contexts. However, to refine these preliminary mappings and validate the correspondences, more paintings and a larger dataset are needed. This expanded research would involve creating additional works for a wider range of chords and notes, systematically documenting the colors perceived with each musical element.