DOI: 10.24411/2470-1262-2020-10078

Abstract:The present paper outlines that the category of “aesthetic”, closely related to the conception of
“art”, appeared from the philosophical world outlook and maintained an inclination to “the perception
in art” as one of its basic invariable characteristics. The aesthetics of the Hellenism epoch
was based on the growing influence of sensual-irrational tendencies in art. The main subject of the
study of medieval aesthetics became a super-sensual world wherewith the concept of beauty and
aesthetic pleasure can be defined more precisely. Having transformed during the Renaissance, the
anthropoid aesthetic consciousness universalized a centric concept of “perception” as a
psychological state of the person perceiving a work of art. The Recent centuries again brought human
attention to the irrational sensory psychological perception in discourses about the art, which was
solved by the association. The schools of thought studying such category of “aesthetic” as the
aesthetic subjectivism and the aesthetics within the framework of the empirical psychology appeared
during that period. The Recent centuries were marked by overstepping the limits of the philosophicalaesthetics, moving towards the natural sciences and emergence of metaphysical aesthetic and artistic
worldview and conceptions: aesthetics “in-sensation”, spiritual aesthetic synthesis, creativity
association, phenomenological and semantic aesthetics.
The paper underlines that the aesthetic facts were interpreted by the language of physical
phenomena in their aggregate. The conversion to the cognition and an assessment of aesthetic things
was outlined by means of the irrational sub-modal perception with distortion of the previous original
shape of artwork’s existence, where a determinative harmonious part was assigned for the content
or the language fact in the institutionalization of the artistic work.
The present paper emphasizes that many famous contemporary artists with synesthesia
technique use their synesthesia to create their artwork; they experience an involuntary joining or
crossing of any of her senses – hearing, vision, taste, touch, smell and movement; they paint from
life rather than from photographs and by exploring the sensory panorama of each locale attempts to
capture, select, and transmit these personal technology experiences.

Keywords: Synesthesia Research, Educational Technologies, Association, Perception, Artistic
Worldview, Aesthetic Synesthesia, Psychological Aesthetics

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Information about the authors:Ibraim Didmanidze – Doctor of Information Technology, Associate Professor of Batumi Shota Rustaveli State University (Georgia, Batumi, Ninoshvili Street 35, 6010) Mobile Phone: (+995) 599 276 600 E-mail: ibraimd@mail.ru Irma Bagrationi – Doctor of Philosophy, Assistant Professor (in Philosophy) of Batumi Shota Rustaveli State University (Georgia, Batumi, Ninoshvili Street 35, 6010) Mobile Phone: (+995) 599 947 668 E-mail: irma.bagrationi@bsu.edu.ge

For citation: Didmanidze Ibraim, Bagrationi Irma, (2020).
On Educational Technologies for Aesthetic Synesthesia Research.
Cross-Cultural Studies: Education and Science
Vol.5, Issue 2 (2020), pp. 67-78 (in USA)