Research Process

1. Sense Problems 

Music is the expression of the soul. A chord is defined as the simultaneous playing of three tones, while a subset of seven tones (Do-Re-Mi-Fa-So-La-Ti) and chords generated from them defines a key (Tillmann et al., 2006). Conventions of melodic patterns, chord sequences and key changes are exploited to create an intellectual and emotional response that we call the musical experience. However, if the listeners are hearing-impaired, all of the above will be consistently more difficult and sometimes impossible. Sound transmitted through the air and through other physical media such as floors, walls, object act on the entire human body, not just the ears, and play an important role in the perception of music and environmental events for almost all people, but in particular for the deaf. Fortunately, “Synaesthesia” could be a possible solution to resolve these problems. The use of “cross-sensory” perception. An aspect of “Synaesthesia” is seeing shapes through sounds. Music being a multi-sensory experience should not prevent the hearing-impaired from enjoying it. Therefore an evaluation of a system developed for conceptualising approaches that move us towards understanding how best to provide musical sensory enhancement for the deaf.

2. Identify areas of research(from theory articles or from practices)

Synaesthesia, Sounds/Music, Metaphors Deaf art, Sensory design installations

3. Devise research questions

1.The idea of deafness intrigues me. In terms of examining deaf people’s sensory worlds, we have not yet explored in depth or discuss another territory — On the ways deaf people develop tactile minds. In retrospect I can’t help but wonder about the “what ifs” because it has taken society so long to acknowledge the role of vision and signed languages in the lives of deaf people. It is amazing that with these impositions, deaf people have developed into one of the most visual groups of people on the face of the Earth. One wonders what the possibilities would be if they were allowed to proceed in life unbounded. How far would this human variety push the boundaries of vision?

2. Can deaf people feel music? Testing the limits of “normal” perception with techniques such as metaphor and symbolism.

3.Raise awareness of the condition and relay the experiences of color grapheme Synaesthesia

4.Exploring the role of senses in how people experienced knowledge through the twentieth century and considers how it affects their perception, choices and behavior.

 4. Design study and incorporate appropriate methodology

To create what we would consider a multi-dimensional experience in which the project seeks to unite the visual, sounds, touch, scent into a single artistic unity. The viewing subject is to be enveloped by sound, vision and text, creating an experience not in which one sense was replaced by another, but rather an experience in which the sense intermingled and perhaps ultimately becomes one. This transcendental form of synaesthesia aspires to reach out to the lives of deaf people specifically in translating hearing into unique sensorial experiences.

5. Review Literature

6. Identify and select sources of data

7. Collect and analyze data

8. Reporting (or write along the way)


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