De lo sensible a la experiencia sinestésica:  Una exploración indisciplinar con artistas hidrocálidos y chilenos

Araceli Marisol González Torres

doi:10.33064/10ais8356

Authors

Araceli Marisol González Torres Universidad Autónoma de Aguascalientes https://orcid.org/0000-0001-6385-4247

DOI:

https://doi.org/10.33064/10ais8356

Keywords:

Synesthesia, Phenomenology of Perception, Synesthetic Action, Synesthetic Experience, Indisciplinarity in Art

Abstract

This article proposes an extension to the concept of synesthesia from a phenomenological, empirical and sensitive perspective, in order to be understood beyond its clinical conception as a neurological condition. Through the Indisciplinary Laboratory of Artistic and Synaesthetic Experimentation (LIEAS) developed with artists from Aguascalientes (Mexico) and Chile between 2024 and 2025, we worked under a mixed methodology, based on practical indiscipline and situated perception. This intervention was articulated with a theoretical framework from the phenomenology of perception, neurosciences and practice-based artistic research. Based on the laboratory findings an interpretative structure of three dimensions of synaesthesia as condition, experience and action is pronounced. This triad allows reconfiguring the synaesthetic phenomenon as a perceptual and creative practice possible from the everyday. Therefore, it is proposed that its approach be transdisciplinary, linking art, body and perception in the production of sensitive knowledge, with incidence in the practices of contemporary synaesthetic and pedagogical experiences.

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Author Biography

Araceli Marisol González Torres, Universidad Autónoma de Aguascalientes

Master’s student in Art at the Universidad Autónoma de Aguascalientes and holder of a Bachelor's degree in Art Studies and Cultural Management from the same institution, earned in December 2021. As a cellist, she was part of various musical ensembles, including the Philharmonic Orchestra of the Universidad Autónoma de Aguascalientes, the Royal Ensemble of Young University Students, and the Traditional Music Ensemble Sonarte, among others. From 2015 to 2019, she founded and directed the KINICH Art Academy. She has led the curation, installation, and promotion of two in-person art exhibitions and one virtual reality exhibition. She has also organized several recitals, advised cultural projects, developed artist portfolios, and taught classes and workshops at preschool, lower elementary, and middle school levels, among other initiatives. Since 2019, she has been involved in administrative and budgetary management at the Centro de las Artes y la Cultura of the Universidad Autónoma de Aguascalientes.

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