Spectatorship, Participation and Mirror-Touch Synaesthesia

Lead Research Organisation: University of Oxford
Department Name: Ruskin School of Drawing and Fine Art

Abstract

Although historically artists from Kandinsky to Hockney have responded to the mixing of the senses known as synaesthesia (Dann, 1999), MTS affords exciting, new opportunities for fine art scholarship. A new area of study even within its native discipline of neuroscience, MTS is a condition in which the synaesthete experiences a subjective tactile sensation on his own body when he watches other bodies (or even objects) being touched. The manifestations of this condition are highly suggestive in relation to artistic, as well as cinematic, theories of spectatorship. My research will transport MTS from the confines of the discipline of neuroscience and introduce it to specialists in other fields and to a general audience in order to explore its powerful potential as a metaphor for empathic, reciprocal seeing.

Building and expanding on an established, interdisciplinary network of academics, this fellowship will challenge assumptions implicit in fine art's 'social turn' by offering new models of how apparently 'passive' spectatorship of visually arresting images might also be socially engaged. In particular it will focus on how the recent turn toward 'the social' in contemporary art can be enriched and deepened by recent turns in two other fields: toward 'embodied spectatorship' in film aesthetics, and toward 'embodied cognition' and the implications of 'mirror systems' in psychology/neuroscience. I will deepen these ideas through two intensive workshops with five diverse thinkers: Jamie Ward (University of Sussex), a leading MTS researcher, Laura U. Marks (Simon Fraser University) and Patricia Pisters (University of Amsterdam), both central proponents of 'embodied spectatorship' in film theory, and Catherine Wood (Tate Curator of Performance) and Claire Bishop (The Graduate Center, CUNY), both nuanced critics of 'the social' in contemporary art. I will theorise a new kind of art viewer based on these conversations, articulated through a fine art film (collaborative in its process, ultimately authored by myself), and through an edited volume that gathers a spectrum of critical positions to support my argument. In addition to authoring a chapter of the edited volume, I will direct and edit the work of the others, including writing the introduction. The edited volume will create a cross disciplinary analysis of the role of both social and aesthetic empathy within contemporary fine art spectatorship, pulling from current research in neuroscience, film theory, and art theory, and reaching scholars in all of these fields, as well as art world professionals, such as curators, critics, and artists. Moreover, this volume will represent a methodological departure in my research activities, closing the gap between artistic research and natural science which was opened in my previous artistic research on synaesthesia (funded by the Wellcome Trust).

My methodologies will span a variety of approaches: the neuroscientific (which sees the condition as an 'objective' phenomenon), the ethnographic (which looks at 'subjective' accounts) and the aesthetic and artistic (which bridges these modes through an examination of the senses). Critical to the methodology of this research is active engagement with real MT synaesthetes. These conversations will produce the first ever ethnography of MTS, which will include personal stories, life experiences and anecdotes, especially those pertaining to questions of spectatorship. These in-depth interviews will enrich and challenge current theoretical discussions by directly feeding into my own and others' scholarly contributions to the edited volume as well as to the fine art film. MT synaesthetes will also appear as actors in my film, realising their own stories. This short artist's film represents an important manifestation of my artistic research, as an artist-filmmaker who works consistently with the tactile nature of the film medium and its socially transformative potential.

Planned Impact

The dissemination plans are designed to bring together leading research with public impact. This fellowship will reach audiences beyond the academy, including (1) synaesthetes, (2) art professionals, such as curators and artists, (3) art-going audiences, and (4) the general population. It will prompt these audiences to question their assumptions about empathic seeing, and the social role this kind of seeing plays in the larger culture.

The edited volume and fine art film will be the primary means of dissemination to both academic and public audiences. I will seek to publish the edited volume with MIT Press or JRP Ringier and to distribute it to art gallery and fine art bookshops internationally as well as through academic channels. Whilst the edited volume may appeal to more specialist audiences, it will also be distributed in conjunction with the first exhibition of the film, around which I anticipate substantial media response, including radio interviews (for example, on The Material World, BBC4). Maureen Seaberg, synaesthesia expert for 'Psychology Today' (top American psychology magazine) has offered to feature the fellowship findings, written for a mass audience of non-specialists. VS Ramachdran, who will contribute a chapter to the edited volume, and who was named by 'Newsweek' magazine as one of the 'hundred most prominent people to watch in the next century', will discuss the volume with interested press. Indeed, this media experience and training represents an important aspect of my leadership development within this fellowship.

The art-going audience reached will be wide and international. Building on my previous experience and artistic reputation (see CV and Publications List), the film will premiere at a solo survey exhibition of my work in a major public gallery, DOX Centre for Contemporary Art in Prague. I am also in dialogue with curators at the Whitechapel Gallery and Chisenhale Gallery, London. The fine art film will be exhibited in leading public art galleries, in the UK and beyond, in the years following the fellowship, thus addressing the broadest possible audience and furthering my fine art network. The film will address a refigured sense of fine art spectatorship in both its form and its content by enacting MT synaesthetes' stories whilst prompting in its audience alternating sensations of empathy and distancing. Moreover, the film process will take as its subject matter the question of spectatorship itself, creating a self reflexive product that invites its viewers to reflect actively on their own experience of spectatorship. The conceptual and affective complexity generated by the film will be anchored by a traditionally narrative 'backbone' thus facilitating accessibility to difficult ideas.

I will also disseminate the fellowship findings through the project's website, including podcasts and transcriptions of MTS interviews, through public lectures and screenings, in academic contexts (conferences, guest lectures, and within the Ruskin itself) and in fine art contexts (gallery talks and conversations). The innovative critical use of MTS interviews will ensure widespread interest in a growing community of synaesthetes (connected by national and international associations, and online communities). I will also present a paper at the UK Synaesthesia Association's annual conference in April 2015, ensuring primary impact both among synaesthetes and the scientists who study synaesthesia. My aim will be to demonstrate to these communities the ways in which this rare condition has widespread resonances well beyond the field of neuroscience. The newly highlighted social importance of MTS perceptions will, I hope, empower MT synaesthetes to share more of their experiences with interested academics and with the public. Far from viewing their condition as any kind of hindrance, then, the MT synaesthetes touched by this fellowship may appreciate the gifts of their way of seeing.

Publications

10 25 50
 
Title Theatre of the Tender 
Description Theatre of the Tender is a ten-minute long contemporary art film, directed by Principal Investigator Daria Martin and scripted in collaboration with playwright Simon Stephens. The film explores the experiences of fictional mirror-touch protagonists, and is inspired by accounts of the lived perceptual, interpersonal, embodied and social experiences of people with mirror-touch synaesthesia, emergent from the Principal Investigator's qualitative analysis, which consists of 15 in-depth, first hand interviews with synaesthetes. The basis of this film has been directly informed by two workshops, facilitated and led in partnership with Frances Rifkin, an experienced leader in Theatre of the Oppressed (a theatrical form that instigates social and political transformation through participatory processes) in which mirror-touch perception and experience (drawn from the findings of the qualitative analysis, and with direct input from mirror-touch synaesthetes themselves) was explored through physical performance exercises, structured theatre scenarios, and script readings. Actors, non-actors, and a mirror-touch synaesthete, Joel Salinas, took part. 
Type Of Art Film/Video/Animation 
Year Produced 2014 
Impact This film will not only be the first artwork to dramatize the lived, social manifestations of mirror-touch, thus instigating an awareness and understanding amongst all audiences of the implications of the condition, but it will also be the first work of its kind through which images eliciting powerful empathic and tactile responses will emerge from a consciously constructed social process, thus fulfilling the wider cultural ambitions of this fellowship's pathway to impact. When completed, the film will be widely exhibited both in the UK and internationally; the Principal Investigator is in dialogue with curators at the Chisenhale Gallery, London, who have expressed interest in screening the film with accompanying talks, and the film will continue to be exhibited in leading public art galleries, in the UK and beyond, in the years following the fellowship, thus impacting across the broadest possible audience. Audience members will be prompted, through the socially transformative and sensuously moving medium of film, to empathise with someone who perceives in a non-normative way; thus the film will provoke wider questioning of "normative" ways of perceiving the world, enabling active reflection upon both spectatorial experience and social engagement. 
 
Description Qualitative Analysis:
The research funded on this fellowship has enabled the Principal investigator's qualitative analysis of the lived social and perceptual implications of mirror-touch, gathered through on-on-one interviews conducted with synaesthetes. At present the Principal Investigator (with help from the Research Assistant) has conducted and edited fifteen interviews, each of which has provided valuable new insights into mirror-touch perception through synaesthetes' accounts of art and film viewing, and into the condition as a mode of social experience and cognition. The findings of this qualitative analysis drive and undergird all activities of this fellowship, and directly inform the generation of new research questions pertaining to the embodied, co-constitutional, and socially attuned potential of art encounters. Furthermore, the findings have provided never-before documented insights into mirror-touch, which have prompted discussion about further areas of investigation within the condition's native discipline of neuroscience, especially related to topics such as body-mapping extensions, proprioception, and emotional empathy. The findings will thus, in this context, directly contribute to the increased understanding and expanding definition of mirror-touch.

Articles:
A co-authored article by P.I. Martin, research assistant Cleghorn and Advisor Ward that directly drew from this fellowship's qualitative study of MTS, 'The Lived Experience of Mirror-Touch Synaesthesia: A Qualitative Investigation of Empathy and Social Life' has been published with The Journal of Consciousness Studies. Abstract: This report discusses the findings of the first ever study dedicated to the qualitative exploration of mirror-touch synaesthesia from a first-person perspective. As part of a project investigating the cross-disciplinary resonances of mirror-touch in the context of the broader social trait of empathy, this study aimed to document the lived experiences of people with this form of synaesthesia in order to offer insights into existing and new theoretical models for mirror-touch. Through examination of quotes drawn from first-hand accounts given by participating mirror-touch synaesthetes concerning their unique perceptual, interpersonal, and social experiences, this report demonstrates the value of experimental research, in particular first-person reporting, to enhancing the understanding of the way mirror-touch relates to empathy and social functioning beyond its quantitiavely measurable characteristics. The descriptions point to mirror-touch synaesthetes' automatic feeling into the emotional lives of others and their deliberate attempts to regulate this.


Martin, Cleghorn and Advisor Banissy are currently writing up a second article drawing from the fellowship's qualitative study, on mirror-proprioception, a phenomenon that had not, until the time of this study, been documented.

Edited volume:
Through proximity, and cross-disciplinary dialogue, Mirror-Touch Synaesthesia: Thresholds of Empathy With Art dissolves barriers not only between neuroscience, contemporary art, and the humanities, but also between theory and experience. The volume's essays and conversations find common ground in the findings of the analysis of mirror-touch, which will be available in excerpted form in the volume's appendix. Each section of the volume addresses a distinct quality of the condition, as documented in the neuroscientific literature and reflected in the qualitative analysis, and explores how this quality might be reimagined within contemporary art spectatorship. Critically refiguring arguments about the "social turn" in contemporary art that reject the traditional viewer as "passive," Mirror-Touch Synaesthesia expands the possibilities of what we call the "participatory" in contemporary art, and enriches debates around the social agency of perception.

The qualitative analysis of mirror-touch has informed the content and structure of one of the key outcomes of this fellowship: a volume of essays, Mirror-Touch Synaesthesia: Thresholds of Empathy With Art, edited by the Principal Investigator, which brings together newly commissioned and never-before published essays and conversations by prominent neuroscientists, anthropologists, artists, art theorists, curators, film theorists, and philosophers, as well as mirror-touch synaesthetes. Mirror-Touch Synaesthesia will be published by Oxford University Press in September. Central to the methodology of Mirror-Touch Synaesthesia is engagement with the findings of the qualitative analysis of mirror-touch, which has been made available to each contributor through a "reader" of thematically arranged quotes drawn from the interviews. Each section of the volume is preceded with a quote from the interviews, which exemplifies the section's themes, and each chapter actively and reflectively engages with these qualitative accounts of mirror-touch as it is lived. While it is intended that the primary audience for Mirror-Touch Synaesthesia is well-versed in at least one of its fields, the jargon free address of this first-ever volume of scholarship on mirror-touch synaesthesia will ensure appeal for audiences of synaesthetes and interested lay-people beyond the academy. The volume will include an appendix, introduced by the editor, of quotes drawn from the qualitative analysis. The volume's publication will therefore facilitate access for all audiences to the lived manifestations of mirror-touch, which are here upheld as a positive model for the empathic, reciprocal spectatorship of art and film, thus furthering the impact of the fellowship's overarching intentions.

The full list of contributors to the volume:

Michael Banissy
Anthony Chemero
Elinor Cleghorn
Thomas Csordas
Trisha Donnelly
Vittorio Gallese
Judith Hopf
Siri Hustvedt
Wayne Koestenbaum
Mark Leckey
Laura U. Marks
Brian Massumi
Daria Martin
Massimiliano Mollona
Rabih Mroué
Christopher Pinney
Patricia Pisters
Joel Salinas
Carolee Schneemann
Fiona Torrance
Jamie Ward
Catherine Wood
Sha Xin Wei

The volume will be published with Oxford University Press in October 2017.


Contemporary art film:
Theatre of the Tender, a ten-minute long contemporary art film, will go into production in February 2015 following the culmination of a series of guided theatre workshops led by the Principal Investigator with dramaturg Frances Rifkin. Scripted by the Principal Investigator with playwright Simon Stephens, the film fictionalises the relationship between two mirror-touch synaesthetes, a teenage boy and his mother, inspired by accounts given in the qualitative analysis. The research funded has enabled a newly created artwork, which powerfully "performs" the intentions of the fellowship. Theatre of the Tender invites viewers into a refigured empathic, embodied engagement elicited through images emergent from a socially conscious process which highlights, and celebrates as a gift, a non-normative way of seeing

Collaborations and partnerships:
The research activities of this fellowship have been delivered through, and also generated, significant research collaborations and partnerships.. A meeting of the advisory committee, attended by neuroscientist Jamie Ward, anthropologist Massimiliano Mollona, Tate curator Catherine Wood and with input from film theorists Laura Marks and Patricia Pisters, and performance scholar Shannon Jackson, took place in June 2014, which valuably informed the development of the proposal for Thresholds, and provided the opportunity for the discussion of new research questions related to mirror-touch, such as sense of agency, social choreography, and the politics of encounters with images. the research activities have generated robust and continuing collaborative engagement with theatre practitioners (Theatre O, dramaturg Frances Rifkin, and playwright Simon Stephens), neuroscientific laboratories focused on research into mirror-touch synaesthesia (Banissy Lab, Goldsmiths College) and the UK Synaesthesia Association. A second meeting with Laura Marks, Catherine Wood, James Wannerton, Elinor Cleghorn and newcomers Nikola Kern (a psychiatrist specialising in somatic disorders, and an psycho-analyst in training) and Professor Manos Tsakiris (a neuroscientist working on the embodied self at Royal Holloway, University of London) held on 10 June 2015 at The London Bridge Hotel, London, looked towards the future, generating new research questions about mirror-touch and art as well as about related issues. Among them were: How might we describe mirror-touch synaesthetes' bodily sense of self? When mirror-touch synaesthetes feel connected to an art object, is this experienced as the object as an extension of the body (as in tool use) or as part of the body? What histories of performance art relate to mirror-touch sensitivity to objects? How does our image saturated culture promote disembodiment, in, for example, eating disorders, and how might this be mitigated by art imagery? What role might interoception play in 'embodied imagery' and in mirror-touch experience specificially? What role might psychoanalytic theory (for example, creative fantasy arising from lack) play in embodied spectatorship? How can art 'fantasise object consciousness'?

Contingencies and additional notes:
While both the Principal Investigator and Research Assistant have taken periods of leave related to bereavement and illness during the life of this Fellowship, the research activities have been fulfilled through commitment to the aims and ambitions of the associated projects.. The promised three podcasts are now online.

Some changes to the existing proposal for this fellowship should be noted: Shannon Jackson (Professor of Performance, UC Berkeley) now stands on the advisory committee in place of Claire Bishop; Simon Stephens (playwright, The Curious Incident of the Dog in the Nighttime) collaborates as script writer rather than EV Crowe; Frances Rifkin (Implicated Theatre, The Centre for Possible Studies, The Serpentine) collaborates as Theatre of the Oppressed practitioner rather than Adrian Jackson.
Exploitation Route The findings of this Fellowship will directly contribute in a valuable and long-lasting way to the increased the public understanding, heightened social importance, and scholarly and artistic resonances of mirror-touch synaesthesia. Mirror-touch synaesthetes touched by this Fellowship might be empowered to share their experiences not only with one another, but also with other interested academics, artists, and the public, and thus may begin to newly appreciate the gifts of their way of seeing. The findings of the qualitative analysis of mirror-touch will inform further quantitative, and also qualitative research into mirror-touch synaesthesia in the fields of neuroscience and social psychology, and therefore contribute directly to the increased understanding and expanding definition of the condition. Amongst academic audiences the edited volume will open up timely new perspectives on questions of perceptual engagement with the world across fields including anthropology, philosophy, art and film theory, performance studies and neuroscience, and might prompt further research into non-normative modes of perception as models for refigured scholarly and conceptual perspectives on issues such as phenomenological spectatorship. Amongst audiences of art professionals, including artists, filmmakers, and curators, the edited volume might provoke - both in practice and theory - fresh engagements with the social potential of art encounters, and revised explorations of the political potential of sensuous and cognitive modes of viewer engagement with art works, images, and objects, through newly created artworks and within exhibitions and cultural institutions. The contemporary art film will invite viewers to reflect upon the co-constitutional and empathic nature of film viewing, and might prompt further theoretical and practical explorations of the potential film holds as a conduit for social transformation, as the film at once names a non-normative way of seeing the world and elicits embodied, empathic engagement through images emergent from a socially conscious process. Audiences for the contemporary art film, and the volume, might include those involved with policy related to non-normative modes of perception, and both outputs might therefore potentially influence decisions related to implications for individuals and within society of perceptual difference. The layered experiences of empathic absorption and distancing experienced by mirror-touch synaesthetes and highlighted by the outcomes of this fellowship might be brought to the attention of researchers and developers of communications technologies and user-based online interfaces.

Although the edited volume's publication is forthcoming, early citations of this research appear here:

Baron-Cohen, S.; Robson, E,; Lai, M.; Allison, C. 'Mirror-Touch Synaesthesia Is Not Associated with Heightened Empathy, and Can Occur with Autism'.PLoS One. 2016; 11(8): e0160543. Published online 2016 Aug 4. doi: 10.1371/journal.pone.0160543. PMCID: PMC4973977.
(Baron-Cohen is one of the first contemporary researchers into synaesthesia, and a world-leading researcher on autism).

Heyes, C. and Catmur, C.(2015) 'A task control theory of mirror-touch synesthesia', Cognitive Neuroscience, 6:2-3, 141-142, DOI: 10.1080/17588928.2015.1057485
To link to this article: http://dx.doi.org/10.1080/17588928.2015.1057485
Sectors Communities and Social Services/Policy,Creative Economy,Digital/Communication/Information Technologies (including Software),Education,Culture, Heritage, Museums and Collections,Other

URL http://www.tate.org.uk/whats-on/tate-modern/conference/mirror-touch-synaesthesia-and-social
 
Description The activities of this fellowship have impacted audiences beyond academia, including synaesthetes, art professionals (such as curators and artists), art-going audiences, and the general population. The overarching intention of the fellowship's activities is to place the recently discovered neurological condition mirror-touch synaesthesia (mirror-touch), a social synaesthesia, at the centre of interdisciplinary dialogue, in order to explore its powerful potential to unseat assumptions about empathic seeing, and the social role this kind of seeing plays in the larger culture. Qualitative Analysis: Throughout this fellowship, the Principal Investigator has initiated and conducted (with the help of Research Assistant Elinor Cleghorn) the first ever qualitative analysis of mirror-touch, the findings of which inform and undergirds all activities and research outcomes. Consisting of fifteen in-depth, one-on-one interviews with people who experience mirror-touch, this project is the first of its kind in any discipline, and constitutes the first exploration of what it is like to live with and perceive the world through this unique neurological trait, in which a measurable tactile sensation is experienced by the synaesthete when witnessing touch to other people and often to objects. Mirror-touch synaesthete participants have been reached through Jamie Ward, leading UK neuroscientist and researcher of synaesthesia based at the University of Sussex (and advisor to this fellowship); Michael Banissy, a key investigator of mirror-touch within the field of social psychology; through the fellowship's collaborative involvement with the UK Synaesthesia Association (UKSA); and through active promotion of the project on several online communities of synaesthetes, including the widely used "Syn List" forum. These interviews have enabled participants to explore the lived perceptual and experiential manifestations of mirror-touch, a condition towards which some prejudice, misunderstanding and negative judgment does exist. Thus the impact of this fellowship has fulfilled one of its central ambitions: to reverse the dynamic wherein some mirror-touch synaesthetes "internalise" this prejudice. This has been achieved by emphasizing mirror-touch experiences and personal stories not only as a valuable and positive model for art and film viewing, but also as a unique mode of seeing to be celebrated as a gift, and as an intensification of so-called "normative" perceptual and social experience. Transcripts of interviews have been passed to synaesthete participants to comment on before circulation, and further dialogue and conversation has been encouraged beyond the interview setting itself. Participant synaesthetes have reported that talking about their experiences in a supportive and celebratory way, often for the first time in their lives, has been empowering, and several have commented that they feel the opportunity to contribute to the further understanding of the personal and social implications of the condition is both affirming and valuable. In addition to generating important new questions for the ongoing research of mirror-touch in the fields of neuroscience and social psychology, the fellowship's qualitative analysis has contributed significantly to the public understanding of the condition, amongst growing international communities of synaesthetes, synaesthete researchers, and interested lay-people: a presentation of the findings of this study at the 2014 UKSA conference, held at Goldsmiths College, University of London, assured interest from these audiences. An online article about the research findings and activities of the fellowship was published in February 2014 in the popular publication Psychology Today (Psychology Today link: https://www.psychologytoday.com/blog/sensorium/201401/), and the implications of the condition as an intensification of our capacity to vicariously "feel" the experience of others was discussed on the BBC World Service/Radio 4 programme The Forum in June 2014, thus bringing mirror-touch to the fore in a public interest broadcast venue with a wide audience. In order for this impact to continue beyond the life of the fellowship, a talking group for mirror-touch synaesthetes is under discussion in collaboration with James Wannerton, president of the UKSA, and podcasts of the interviews have been prepared for dissemination on the website of the fellowship's activities. A peer reviewed journal article, co-authored by Martin, Cleghorn, and fellowship advisor Jamie Ward was recently published: Martin, D.; Cleghorn, E.; Ward,J.; 'The Lived Experiences of Mirror-Touch Synaesthesia: A Qualitative Investigation of Empathy and Social Life.' Journal of Consciousness Studies, Volume 24, Numbers 1-2, 2017, pp. 214-227(14). Edited Volume: Please see Key Findings. Contemporary art film: Inspired by the imaginative, social, and perceptual experiences reported during the qualitative analysis, the Principal Investigator has created a 10 minute-long contemporary art film, Theatre of the Tender, exploring the relationship between a teenage boy and his mother, both mirror-touch synaesthetes. It was shot in 2015 and has just reached the last stages of post-production, with 16mm film prints now available for exhibition. This basis of this film has been directly informed by two workshops, facilitated and led in partnership with Frances Rifkin, an experienced Theatre of the Oppressed leader, in which mirror-touch perception and experience (drawn from the findings of the qualitative analysis, and with direct input from mirror-touch synaesthetes themselves) was explored through physical performance exercises, structured theatre scenarios, and script readings. Actors, non-actors, and a mirror-touch synaesthete, Joel Salinas, took part. This film will instigate an awareness and understanding amongst all audiences of the implications of the condition, but it will also be the first work of its kind through which images eliciting powerful empathic and tactile responses will emerge from a consciously constructed social process, thus fulfilling the wider cultural ambitions of the fellowship's pathway to impact. The art-going audience reached through this film is assured to be wide and international. In 2015, it was exhibited as part of Thought Forms and Brain Waves-Neuro-Aesthetics and Art, 14th Istanbul Biennial SALTWATER: A Theory of Thought Forms, Istanbul, Turkey. The Istanbul Biennial is one of three of the most important in the art world. 'At the Threshold' was also featured in a solo exhibition at Maureen Paley Gallery, London in early 2016, and reviewed in Art Agenda (http://www.art-agenda.com/reviews/double-take%E2%80%94daria-martins-%E2%80%9Cat-the-threshold%E2%80%9D/), Time Out, and Art Monthly (Homersham, Lizzie, Feelings, Art Monthly, July - August 2016, pp. 10-13). At the time of writing, there are plans to show the film alongside two others in a 'mirror-touch trilogy' at Visual, Carlow, Ireland's largest public gallery space. Several screening and discussion events have also taken place, some of them in conjunction with these exhibitions: in 2015, Martin spoke about the film in an art-neuroscience symposium at the Istanbul Biennial, and presented research at 'We, Not I', a feminist symposium at the South London Gallery; in 2016, Martin screened and discussed the work with Emily Pethick, director of The Showroom, London, and as part of a symposium 'Fictional Matters' at Centre for Contemporary Art Glasgow, focusing on embodiment. A critical description of the work appears in the Istanbul Biennial catalogue: Saltwater/Tuzlu Su, A Theory of Thought Forms, 14th Istanbul Biennial 2015, drafted by Carolyn Christov-Bakargiev, p. 366. The film will continue to be exhibited in leading public art galleries, in the UK and beyond, in the years following the fellowship, thus impacting across the broadest possible audience. Audience members will be prompted, through the socially transformative and sensuously moving medium of film, to empathise with someone who perceives in a non-normative way; thus the film provokes wider questioning of "normative" ways of perceiving the world, enabling active reflection upon both spectatorial experience and social engagement.
First Year Of Impact 2014
Sector Culture, Heritage, Museums and Collections,Other
Impact Types Cultural,Societal

 
Title Qualitative analysis of mirror-touch synaesthesia 
Description The Principal Investigator has initiated and developed, and conducted with help from the research assistant, the first ever qualitative analysis of mirror-touch synaesthesia, which has been gathered thus far through 15 one-on-one interviews with synaesthetes regarding their lived social, interpersonal, and perceptual experiences of mirror-touch. These interviews have been conducted in over Skype and in writing, and have focused on mirror-touch synaesthetes experiences of art and film viewing, as well as on synaesthetes' experiences of living with the condition and the ways in which the condition affects and impacts everyday life, decision making, experiences of domestic and urban environments, and relationships to and with others. 
Type Of Material Model of mechanisms or symptoms - human 
Provided To Others? No  
Impact The findings of the qualitative analysis have been shared with leading researchers in to mirror-touch Jamie Ward, University of Sussex, and Michael Banissy, Goldsmiths College (who acts as an advisor to this fellowship). The findings have prompted discussion and further understanding about the condition, and have directly impacted new questions regarding the implications of the condition for the understanding of embodied responses to art and images, emotional and physical empathy, body-mapping extensions and proprioception. The findings will thus have a potential impact for the furthering of quantitative research into mirror-touch within the fields of neuroscience and social psychology. The findings of the qualitative analysis will also be disseminated in the form of podcasts and textual documentation on the website of the fellowship's activities, thus contributing to the fellowship's pathways to impact by contributing to the heightened public understanding and increased social importance of this non-normative mode of perception. 
URL http://mirror-touch.co.uk
 
Description Advisory committee for Mirror-Touch Synaesthesia: Thresholds of Empathy With Art 
Organisation Goldsmiths, University of London
Country United Kingdom 
Sector Academic/University 
PI Contribution This fellowship brings together an advisory committee of leading scholars from across disciplines to guide and inform the development of the proposal for the edited volume of essays 'Thresholds: Mirror-Touch Synaesthesia and the Social Life of Art', edited by the Principal Investigator with editorial assistance by the fellowship's research assistant, Elinor Cleghorn. The Principal Investigator and research assistant facilitated a workshop meeting of the advisory committee in London in June 2014, which provided an opportunity for the sharing of research and expertise amongst the members of the committee, and enabled each to actively contribute and discuss in-depth a range of topics including art spectatorship, empathy, social and political agency in fruitful cross-disciplinary dialogue. In advance of the meeting the Principal Investigator and research assistant shared with the advisory committee a range of materials authored by the members, and also pertaining to the fellowship's research questions and the scholarly and conceptual foundations of the edited volume, which formed the basis of the workshop's discussions and prompted original lines of enquiry for each committee member.
Collaborator Contribution The advisory committee to this fellowship have provided insight on a range of scholarly and conceptual questions which have valuably impacted the development and formation of the proposal for the edited volume, as well as furthering the depth and scope of the fellowship's undergirding research questions and lines of thought. Each member has shared expertise and knowledge from their respective discipline on the areas of investigation addressed within the edited volume, as well as offering advise and suggestions regarding specific contributors to the volume, and helping to guide the volume's proposal from early drafts to submitted prospectus. In June 2014, the advisory board participated in a day-long workshop, held in London, which garnered invaluable cross-disciplinary dialogue regarding the content, structure and scope of the volume itself, and prompted further research questions for the fellowship's activities.
Impact The advisory committee is multi-disciplinary, representing amongst its members the key areas of investigation through which the research questions of this fellowship are pursued. The committee consists of Shannon Jackson (Professor of Performance, UC Berkeley), Massimiliano Mollona (Senior Lecturer in Anthropology, Goldsmiths College), Laura U. Marks (Professor, School for Contemporary Arts, Simon Fraser University), Patricia Pisters (Professor of Media and Film Studies, University of Amsterdam), Jamie Ward (Professor of Cognitive Neuroscience, University of Sussex) and Catherine Wood (Curator of Contemporary Art and Performance, Tate Modern). A change to the original proposal for this advisory committee should be noted: Shannon Jackson participates in the advisory committee in the place of Claire Bishop.
Start Year 2014
 
Description Advisory committee for Mirror-Touch Synaesthesia: Thresholds of Empathy With Art 
Organisation Simon Fraser University
Country Canada 
Sector Academic/University 
PI Contribution This fellowship brings together an advisory committee of leading scholars from across disciplines to guide and inform the development of the proposal for the edited volume of essays 'Thresholds: Mirror-Touch Synaesthesia and the Social Life of Art', edited by the Principal Investigator with editorial assistance by the fellowship's research assistant, Elinor Cleghorn. The Principal Investigator and research assistant facilitated a workshop meeting of the advisory committee in London in June 2014, which provided an opportunity for the sharing of research and expertise amongst the members of the committee, and enabled each to actively contribute and discuss in-depth a range of topics including art spectatorship, empathy, social and political agency in fruitful cross-disciplinary dialogue. In advance of the meeting the Principal Investigator and research assistant shared with the advisory committee a range of materials authored by the members, and also pertaining to the fellowship's research questions and the scholarly and conceptual foundations of the edited volume, which formed the basis of the workshop's discussions and prompted original lines of enquiry for each committee member.
Collaborator Contribution The advisory committee to this fellowship have provided insight on a range of scholarly and conceptual questions which have valuably impacted the development and formation of the proposal for the edited volume, as well as furthering the depth and scope of the fellowship's undergirding research questions and lines of thought. Each member has shared expertise and knowledge from their respective discipline on the areas of investigation addressed within the edited volume, as well as offering advise and suggestions regarding specific contributors to the volume, and helping to guide the volume's proposal from early drafts to submitted prospectus. In June 2014, the advisory board participated in a day-long workshop, held in London, which garnered invaluable cross-disciplinary dialogue regarding the content, structure and scope of the volume itself, and prompted further research questions for the fellowship's activities.
Impact The advisory committee is multi-disciplinary, representing amongst its members the key areas of investigation through which the research questions of this fellowship are pursued. The committee consists of Shannon Jackson (Professor of Performance, UC Berkeley), Massimiliano Mollona (Senior Lecturer in Anthropology, Goldsmiths College), Laura U. Marks (Professor, School for Contemporary Arts, Simon Fraser University), Patricia Pisters (Professor of Media and Film Studies, University of Amsterdam), Jamie Ward (Professor of Cognitive Neuroscience, University of Sussex) and Catherine Wood (Curator of Contemporary Art and Performance, Tate Modern). A change to the original proposal for this advisory committee should be noted: Shannon Jackson participates in the advisory committee in the place of Claire Bishop.
Start Year 2014
 
Description Advisory committee for Mirror-Touch Synaesthesia: Thresholds of Empathy With Art 
Organisation Tate
Department Tate Modern, London
Country United Kingdom 
Sector Public 
PI Contribution This fellowship brings together an advisory committee of leading scholars from across disciplines to guide and inform the development of the proposal for the edited volume of essays 'Thresholds: Mirror-Touch Synaesthesia and the Social Life of Art', edited by the Principal Investigator with editorial assistance by the fellowship's research assistant, Elinor Cleghorn. The Principal Investigator and research assistant facilitated a workshop meeting of the advisory committee in London in June 2014, which provided an opportunity for the sharing of research and expertise amongst the members of the committee, and enabled each to actively contribute and discuss in-depth a range of topics including art spectatorship, empathy, social and political agency in fruitful cross-disciplinary dialogue. In advance of the meeting the Principal Investigator and research assistant shared with the advisory committee a range of materials authored by the members, and also pertaining to the fellowship's research questions and the scholarly and conceptual foundations of the edited volume, which formed the basis of the workshop's discussions and prompted original lines of enquiry for each committee member.
Collaborator Contribution The advisory committee to this fellowship have provided insight on a range of scholarly and conceptual questions which have valuably impacted the development and formation of the proposal for the edited volume, as well as furthering the depth and scope of the fellowship's undergirding research questions and lines of thought. Each member has shared expertise and knowledge from their respective discipline on the areas of investigation addressed within the edited volume, as well as offering advise and suggestions regarding specific contributors to the volume, and helping to guide the volume's proposal from early drafts to submitted prospectus. In June 2014, the advisory board participated in a day-long workshop, held in London, which garnered invaluable cross-disciplinary dialogue regarding the content, structure and scope of the volume itself, and prompted further research questions for the fellowship's activities.
Impact The advisory committee is multi-disciplinary, representing amongst its members the key areas of investigation through which the research questions of this fellowship are pursued. The committee consists of Shannon Jackson (Professor of Performance, UC Berkeley), Massimiliano Mollona (Senior Lecturer in Anthropology, Goldsmiths College), Laura U. Marks (Professor, School for Contemporary Arts, Simon Fraser University), Patricia Pisters (Professor of Media and Film Studies, University of Amsterdam), Jamie Ward (Professor of Cognitive Neuroscience, University of Sussex) and Catherine Wood (Curator of Contemporary Art and Performance, Tate Modern). A change to the original proposal for this advisory committee should be noted: Shannon Jackson participates in the advisory committee in the place of Claire Bishop.
Start Year 2014
 
Description Advisory committee for Mirror-Touch Synaesthesia: Thresholds of Empathy With Art 
Organisation University of Amsterdam
Country Netherlands 
Sector Academic/University 
PI Contribution This fellowship brings together an advisory committee of leading scholars from across disciplines to guide and inform the development of the proposal for the edited volume of essays 'Thresholds: Mirror-Touch Synaesthesia and the Social Life of Art', edited by the Principal Investigator with editorial assistance by the fellowship's research assistant, Elinor Cleghorn. The Principal Investigator and research assistant facilitated a workshop meeting of the advisory committee in London in June 2014, which provided an opportunity for the sharing of research and expertise amongst the members of the committee, and enabled each to actively contribute and discuss in-depth a range of topics including art spectatorship, empathy, social and political agency in fruitful cross-disciplinary dialogue. In advance of the meeting the Principal Investigator and research assistant shared with the advisory committee a range of materials authored by the members, and also pertaining to the fellowship's research questions and the scholarly and conceptual foundations of the edited volume, which formed the basis of the workshop's discussions and prompted original lines of enquiry for each committee member.
Collaborator Contribution The advisory committee to this fellowship have provided insight on a range of scholarly and conceptual questions which have valuably impacted the development and formation of the proposal for the edited volume, as well as furthering the depth and scope of the fellowship's undergirding research questions and lines of thought. Each member has shared expertise and knowledge from their respective discipline on the areas of investigation addressed within the edited volume, as well as offering advise and suggestions regarding specific contributors to the volume, and helping to guide the volume's proposal from early drafts to submitted prospectus. In June 2014, the advisory board participated in a day-long workshop, held in London, which garnered invaluable cross-disciplinary dialogue regarding the content, structure and scope of the volume itself, and prompted further research questions for the fellowship's activities.
Impact The advisory committee is multi-disciplinary, representing amongst its members the key areas of investigation through which the research questions of this fellowship are pursued. The committee consists of Shannon Jackson (Professor of Performance, UC Berkeley), Massimiliano Mollona (Senior Lecturer in Anthropology, Goldsmiths College), Laura U. Marks (Professor, School for Contemporary Arts, Simon Fraser University), Patricia Pisters (Professor of Media and Film Studies, University of Amsterdam), Jamie Ward (Professor of Cognitive Neuroscience, University of Sussex) and Catherine Wood (Curator of Contemporary Art and Performance, Tate Modern). A change to the original proposal for this advisory committee should be noted: Shannon Jackson participates in the advisory committee in the place of Claire Bishop.
Start Year 2014
 
Description Advisory committee for Mirror-Touch Synaesthesia: Thresholds of Empathy With Art 
Organisation University of California, Berkeley
Country United States 
Sector Academic/University 
PI Contribution This fellowship brings together an advisory committee of leading scholars from across disciplines to guide and inform the development of the proposal for the edited volume of essays 'Thresholds: Mirror-Touch Synaesthesia and the Social Life of Art', edited by the Principal Investigator with editorial assistance by the fellowship's research assistant, Elinor Cleghorn. The Principal Investigator and research assistant facilitated a workshop meeting of the advisory committee in London in June 2014, which provided an opportunity for the sharing of research and expertise amongst the members of the committee, and enabled each to actively contribute and discuss in-depth a range of topics including art spectatorship, empathy, social and political agency in fruitful cross-disciplinary dialogue. In advance of the meeting the Principal Investigator and research assistant shared with the advisory committee a range of materials authored by the members, and also pertaining to the fellowship's research questions and the scholarly and conceptual foundations of the edited volume, which formed the basis of the workshop's discussions and prompted original lines of enquiry for each committee member.
Collaborator Contribution The advisory committee to this fellowship have provided insight on a range of scholarly and conceptual questions which have valuably impacted the development and formation of the proposal for the edited volume, as well as furthering the depth and scope of the fellowship's undergirding research questions and lines of thought. Each member has shared expertise and knowledge from their respective discipline on the areas of investigation addressed within the edited volume, as well as offering advise and suggestions regarding specific contributors to the volume, and helping to guide the volume's proposal from early drafts to submitted prospectus. In June 2014, the advisory board participated in a day-long workshop, held in London, which garnered invaluable cross-disciplinary dialogue regarding the content, structure and scope of the volume itself, and prompted further research questions for the fellowship's activities.
Impact The advisory committee is multi-disciplinary, representing amongst its members the key areas of investigation through which the research questions of this fellowship are pursued. The committee consists of Shannon Jackson (Professor of Performance, UC Berkeley), Massimiliano Mollona (Senior Lecturer in Anthropology, Goldsmiths College), Laura U. Marks (Professor, School for Contemporary Arts, Simon Fraser University), Patricia Pisters (Professor of Media and Film Studies, University of Amsterdam), Jamie Ward (Professor of Cognitive Neuroscience, University of Sussex) and Catherine Wood (Curator of Contemporary Art and Performance, Tate Modern). A change to the original proposal for this advisory committee should be noted: Shannon Jackson participates in the advisory committee in the place of Claire Bishop.
Start Year 2014
 
Description Advisory committee for Mirror-Touch Synaesthesia: Thresholds of Empathy With Art 
Organisation University of Sussex
Country United Kingdom 
Sector Academic/University 
PI Contribution This fellowship brings together an advisory committee of leading scholars from across disciplines to guide and inform the development of the proposal for the edited volume of essays 'Thresholds: Mirror-Touch Synaesthesia and the Social Life of Art', edited by the Principal Investigator with editorial assistance by the fellowship's research assistant, Elinor Cleghorn. The Principal Investigator and research assistant facilitated a workshop meeting of the advisory committee in London in June 2014, which provided an opportunity for the sharing of research and expertise amongst the members of the committee, and enabled each to actively contribute and discuss in-depth a range of topics including art spectatorship, empathy, social and political agency in fruitful cross-disciplinary dialogue. In advance of the meeting the Principal Investigator and research assistant shared with the advisory committee a range of materials authored by the members, and also pertaining to the fellowship's research questions and the scholarly and conceptual foundations of the edited volume, which formed the basis of the workshop's discussions and prompted original lines of enquiry for each committee member.
Collaborator Contribution The advisory committee to this fellowship have provided insight on a range of scholarly and conceptual questions which have valuably impacted the development and formation of the proposal for the edited volume, as well as furthering the depth and scope of the fellowship's undergirding research questions and lines of thought. Each member has shared expertise and knowledge from their respective discipline on the areas of investigation addressed within the edited volume, as well as offering advise and suggestions regarding specific contributors to the volume, and helping to guide the volume's proposal from early drafts to submitted prospectus. In June 2014, the advisory board participated in a day-long workshop, held in London, which garnered invaluable cross-disciplinary dialogue regarding the content, structure and scope of the volume itself, and prompted further research questions for the fellowship's activities.
Impact The advisory committee is multi-disciplinary, representing amongst its members the key areas of investigation through which the research questions of this fellowship are pursued. The committee consists of Shannon Jackson (Professor of Performance, UC Berkeley), Massimiliano Mollona (Senior Lecturer in Anthropology, Goldsmiths College), Laura U. Marks (Professor, School for Contemporary Arts, Simon Fraser University), Patricia Pisters (Professor of Media and Film Studies, University of Amsterdam), Jamie Ward (Professor of Cognitive Neuroscience, University of Sussex) and Catherine Wood (Curator of Contemporary Art and Performance, Tate Modern). A change to the original proposal for this advisory committee should be noted: Shannon Jackson participates in the advisory committee in the place of Claire Bishop.
Start Year 2014
 
Description Collaboration with UK Synaesthesia Association 
Organisation UK Synaesthesia Association
Country United Kingdom 
Sector Charity/Non Profit 
PI Contribution During this fellowship, the Principal Investigator has engaged closely with the James Wannerton, President of the UK Synaesthesia Association. The UKSA is the UK's foremost location for information about the many different traits of synaesthesia, which provides a point of connection and crucial resources for synaesthetes, and also for scientists, scholars, members of the press and policy makers interested in the characteristics, manifestations and social implications of synaesthetic experience. This collaboration contributes to the enhancing of the profile of the UKSA as a point of focus for information and resources pertaining specifically to mirror-touch synaesthesia, for both its membership of synaesthetes and its diverse range of other users. This fellowship is currently in discussion with the UKSA regarding the formation of an ongoing 'talking group' for mirror-touch synaesthetes, which the organisation would host and monitor, resulting in the formation of a dedicated UK based community network for people with mirror-touch, in which their unique condition could be celebrated and explored. At present this collaboration enables the UKSA to direct their existing membership of mirror-touch synaesthetes, as well as new members who wish to share their experiences of mirror-touch, to the activities of the fellowship and encourage participation in the fellowship's ongoing qualitative analysis of the lived manifestations of the condition.
Collaborator Contribution James Wannerton, president of the UKSA, has been an active advocate of the activities of the fellowship amongst growing communities of synaesthetes. He has contributed directly to the theatre workshops which have informed and inspired the creation of the contemporary art film 'Theatre of the Tender', by participating and also offering valuable insights into the lived manifestations of synaesthesia. Wannerton has promoted both the qualitative analysis and theatre workshops through his access to channels of communication and online networks which reach synaesthetes both at a national and international level, and his support and provision of clear information has resulted in further synaesthete participation.
Impact The collaboration with the UKSA continues to draw the attention of synaesthetes to the activities of the fellowship, and has resulted directly in the participation of mirror-touch synaesthetes in the fellowship's project of qualitative analysis.
Start Year 2014
 
Description 'Indirect Experience'; The Forum, BBC World Service/Radio 4 
Form Of Engagement Activity A talk or presentation
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Public/other audiences
Results and Impact The research assistant to this fellowship Elinor Cleghorn was asked to participate in an edition of the popular radio discussion programme 'The Forum', broadcast on BBC World Service and Radio 4, to discuss the way that the findings and research questions arising from and pertaining to the activities of this fellowship relate to the theme of 'indirect experience'. The research assistant discussed mirror-touch synaesthesia as a neurological condition and a mode of social cognition, and was asked about the ways in which mirror-touch synaesthetes experience others, artworks, and the world around them.

The programme prompted mirror-touch synaesthetes to get in contact regarding the activities of the fellowship and participation in the project of qualitative analysis, and also garnered pubic interest in the condition itself, marked by email correspondence from researchers and interested members of the public, and through commenting on social media.
Year(s) Of Engagement Activity 2014
URL http://www.bbc.co.uk/programmes/p021f19d
 
Description Book launch, 'Worlding the Brain', Stedelijk Museum, Amsterdam. 
Form Of Engagement Activity A talk or presentation
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Professional Practitioners
Results and Impact A reading from the OUP edited volume within a symposium on neuroaesthetics.
Year(s) Of Engagement Activity 2017
URL https://worldingthebrain2017.com
 
Description Book launch, Frieze Art Fair 
Form Of Engagement Activity A talk or presentation
Part Of Official Scheme? No
Geographic Reach Regional
Primary Audience Public/other audiences
Results and Impact I read from the OUP book to members of the art world.
Year(s) Of Engagement Activity 2017
 
Description DPhil Seminar Presentation, The Ruskin School of Art 
Form Of Engagement Activity A talk or presentation
Part Of Official Scheme? No
Geographic Reach Regional
Primary Audience Postgraduate students
Results and Impact I presented and discussed the OUP volume with Ruskin postgraduate students in practicing fine art and art theory.
Year(s) Of Engagement Activity 2017
 
Description Daria Martin in conversation with Emily Pethick, Maureen Paley, London 
Form Of Engagement Activity A talk or presentation
Part Of Official Scheme? No
Geographic Reach Regional
Primary Audience Public/other audiences
Results and Impact A discussion about mirror-touch and art at a prominent London art gallery.
Year(s) Of Engagement Activity 2016
URL http://www.maureenpaley.com
 
Description Mirror-Touch and Spectatorship, Neurodiversity in Curating Seminar 
Form Of Engagement Activity A talk or presentation
Part Of Official Scheme? No
Geographic Reach National
Primary Audience Media (as a channel to the public)
Results and Impact I presented research on mirror-touch as a celebrated neurodiversity at a Neurodiversity in Curating Seminar, Project Art Works, London. The audience was comprised mostly of professional curators looking to widen their presentations to more neurodiverse audiences.
Year(s) Of Engagement Activity 2017
URL http://www.projectartworks.org
 
Description Mirror-Touch: Thresholds of Empathy with Art, part of 'We (not I)', South London Gallery, London. 
Form Of Engagement Activity A formal working group, expert panel or dialogue
Part Of Official Scheme? No
Geographic Reach Regional
Primary Audience Professional Practitioners
Results and Impact A feminist working group; I presented evolving research into the edited volume and we explored resonance with contemporary feminism.
Year(s) Of Engagement Activity 2015
URL http://wenoti.com
 
Description Online podcast interviews with mirror-touch synaesthetes 
Form Of Engagement Activity Engagement focused website, blog or social media channel
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Public/other audiences
Results and Impact AHRC research assistant Elinor Cleghorn and I interviewed and recorded in depth four mirrort-touch synaesthetes. These interviews were recorded and podcast on our project's site.
Year(s) Of Engagement Activity 2012,2013,2014,2015
 
Description Serpentine Gallery podcast 
Form Of Engagement Activity A broadcast e.g. TV/radio/film/podcast (other than news/press)
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Public/other audiences
Results and Impact 'Invocations of Hilma Af Klimt' responded to the Serpentine show by comparing this artist's mysticism to the experience of self-other blurring experienced by mirror-touch synaesthetes.
Year(s) Of Engagement Activity 2016
URL http://www.serpentinegalleries.org/exhibitions-events/invocations-hilma-af-klint-serpentine-radio
 
Description Solo Exhibition: Subjects and Objects at VISUAL, Carlow, Ireland 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach National
Primary Audience Public/other audiences
Results and Impact A solo exhibition brought together all three films in the 'synaesthesia trilogy' culminating with AHRC funded 'Theatre of the Tender.'
Year(s) Of Engagement Activity 2017
URL http://www.visualcarlow.ie
 
Description Studio Visit on Resonance 104.4FM interview 
Form Of Engagement Activity A broadcast e.g. TV/radio/film/podcast (other than news/press)
Part Of Official Scheme? No
Geographic Reach National
Primary Audience Public/other audiences
Results and Impact A discussion about the OUP edited volume and also film in the context of my larger artistic practice.
Year(s) Of Engagement Activity 2017
URL https://www.mixcloud.com/Resonance/daria-martin-studio-visit-4th-october-2017/
 
Description Thought Forms and Brain Waves-Neuro-Aesthetics and Art, 14th Istanbul 
Form Of Engagement Activity A talk or presentation
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Public/other audiences
Results and Impact A discussion about neuroaesthetics within contemporary art discourse at the 14th Istanbul Biennial SALTWATER: A Theory of Thought Forms, Istanbul, Turkey .
Year(s) Of Engagement Activity 2015
 
Description UK Synaesthesia Conference 2014 
Form Of Engagement Activity A talk or presentation
Part Of Official Scheme? No
Geographic Reach National
Primary Audience Public/other audiences
Results and Impact A presentation of a 'mind map' of quotations drawn from the Principal Investigator's qualitative analysis of mirror-touch was included in the poster presentations portion of the 2014 UK Synaesthesia Association conference held at Goldsmiths College, University of London. The purpose of the presentation was to draw attention to the activities of qualitative research into mirror-touch synaesthesia carried out through this fellowship, and to contribute to the fellowship's pathways to impact by highlighting the unique perceptual and social experiences of mirror-touch amongst audiences of synaesthetes, synaesthesia researchers, and the interested public. The presentation garnered interest amongst these audiences and prompted discussion.

This 'mind map' will be included on the website of the Fellowship's activities, thus contributing to the public dissemination of the findings of the qualitative analysis of mirror-touch synaesthesia.
Year(s) Of Engagement Activity 2014
 
Description Wellcome Trust interview with Michael Banissy 
Form Of Engagement Activity A talk or presentation
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Public/other audiences
Results and Impact A recorded interview with myself AHRC advisor and mirror-touch scientist Michael Banissy is exhibited in the Wellcome Trust exhibition 'Somewhere in Between' for six months. The conversation details the research that went into the OUP edited volume.
Year(s) Of Engagement Activity 2018
URL https://wellcomecollection.org/exhibitions/WhvoAykAACgAlDoo
 
Description Wellcome Trust outreach 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach National
Primary Audience Public/other audiences
Results and Impact I will be presenting a symposium on art and affect and its relationship to mirror-touch and contemporary art at the Wellcome Trust. This event dovetails with the current exhibition in 'Somewhere in Between' of my two earlier mirror-touch films funded by the Trust.
Year(s) Of Engagement Activity 2018