Generation of Creativity with Inspiration from Synaesthesia

Chong Zeng

1,2 a

, Jiafeng Zhou

, Zhongxi Lu

, Yue Wu

, Zicheng Nie

and Hongji Yang

School of Computer and Mathematical Sciences, University of Leicester, Leicester, U.K.

School of Mathematical and Engineering, Longyan University, Fujian, China

Creative Centre for ArtSciArch, Jilin Jianzhu University, Jilin, China

hongji.yang@leicester.ac.uk

Keywords: Synaesthesia, Creativity, Generation, Inducers, Concurrents, Cluster, Five Sensory.

Abstract: The key to creativity does not lie solely in the mental process. It is also regarded as a cultural or social activity.

Methods of supporting creative ideas generation have been studied and researched widely in various domains.

Among such studies, Gerald has summarized 172 methods that can be applied to creative ideas generation.

Although his research has covered the most used strategies, yet, synaesthesia as an incredible phenomenon in

which the stimulus arouses one or more additional sensory experiences has never been adopted as a strategy

to generate ideas. The aim of this research is to support creative ideas generation by merging computers and

synaesthetic experiences. Hence, a visual-related synesthesia-based creativity support system is proposed to

support creative ideas generation. Initially, synaesthesia is divided into synaesthesia clusters composed of five

sensory stimuli (e.g., visual-visual, visual-auditory) by analyzing synaesthetic experiences recorded in various

literature. Then, synaesthesia clusters related to vision were selected as the most prevalent synaesthetic

experience to generate a variety of rules. As a result, various rules are fused to produce numerous imaginative

elements for people to select, thus promoting the human imagination, and supporting creative ideas.

1 INTRODUCTION

Creativity is more than just a mental process; it is

also a cultural and social activity (Vidal 2009). In

general, creativity is defined and evaluated in a

variety of ways. For example, in terms of evaluation,

Boden considered that creativity is the ability to

generate “new, surprising, and valuable” ideas or

artifacts (Boden 2007). Meanwhile, Stein et al.

believed that creative work is a new work

acknowledged by a community as tenable, useful, or

pleasurable at some point in time (Stein 1953).

Generally speaking, creativity should simultaneously

fulfill the new, valuable, and acceptable criteria in

most cases.

The existing research proposed various

techniques to achieve the criteria mentioned above.

For instance, Boden proposed the most widely

accepted and classic technique in 2004: creativity can

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be acquired in three forms based on categorical

characteristics: combinational, exploratory, and

transformational (Boden 2004). It is easy to find

various creative support systems that employ a

variety of ways to aid in gathering relevant data and

the creation of ideas (Wang and Nickerson 2019). The

necessary and prerequisite condition for generating

creativity is the generation of creative ideas, which

have been the focus of creativity research. As early as

1998, Gerald studied 172 proposed approaches to idea

generation and summarized three positive elements

for generating creativity: strategies, tactics, and

enables, the latter two aimed at promoting the first

(Smith 1998). Specifically, methods such as idea

generation, brainstorming (Potter and Balthazard

2004), and mind mapping (Massetti 1996) are still

popular at present. Some studies employ a visual

technique to present stimuli to stimulate new ideas

(Wang, Cosley, and Fussell 2010; Wang, Fussell, and

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560

Zeng, C., Zhou, J., Lu, Z., Wu, Y., Nie, Z. and Yang, H.

Generation of Creativity with Inspiration from Synaesthesia.

DOI: 10.5220/0011916000003613

In Proceedings of the 2nd International Conference on New Media Development and Modernized Education (NMDME 2022), pages 560-570

ISBN: 978-989-758-630-9

 2023 by SCITEPRESS – Science and Technology Publications, Lda. Under CC license (CC BY-NC-ND 4.0)

Cosley 2011).

Synaesthesia is an incredible phenomenon in

which the stimulus arouses one or more additional

sensory experiences (Grossenbacher and Lovelace

2001). It is worth noting that synaesthesia plays a

critical role in the development of sensory products,

and user-specific experiences can be obtained

through the imagination and creativity generated by

multiple sensory modes (Merter 2017).

Creative support systems are a typical tool for

enhancing human creativity through stimulating and

documenting the creative process and are often used

to stimulate the creative potential of individuals and

groups (Massetti 1996; Wang and Nickerson 2017).

2 RELATED WORKS

In recent years, synesthesia researchers have tended

to invest in the relationship between different types

of synesthesia, like how different types of

synesthesia fit together (Ward and Simner 2021)?

The relationship between different synaesthesia

forms and their ability to participate in art or

creativity (Lunke and Meier 2019). Especially,

researchers studied the effects of synesthesia on letter

representation in different languages, not only

English-speaking (Root et al. 2021). In addition,

researchers also believe that synaesthetes are more

creative than non-synesthetes due to the difficult

concepts that can be perceived (Mulvenna et al.

2003). Others consider that creativity and the

processing information ability can be improved by

activating more of the sense of non-synesthetes

(Merter 2017).

Some researchers considered that stimulus

relatedness is positively related to the idea quantity

and idea usefulness. Their study indicates that

remotely related stimuli, not unrelated stimuli, tend

to improve idea novelty. Such as the Wikipedia-

based approach to support creative idea generation

(Wang and Nickerson 2019). Others developed a

computational tool using a combination of ontology

and analogy to assist designers in generating creative

ideas in the early stages of design (Han et al. 2018)

3 METHODS AND

PROCEDURES

This study designed creative ideas support system

that inputs visual, auditory, and gustatory, and

randomly outputs pictures with shapes, numbers, and

colors through analyzing synaesthetic experience,

constructing rules between inducers and concurrents,

and summarizing and generalizing the rules. The

specific steps are as follows.

3.1 The Regular Conceptual Space

Recognition

It requires breaking the regular rules to achieve novel

and surprising results. Therefore, the first step is to

figure out the typical components of the regular

ideas. The standard components could be considered

as the rules constituting the conceptual space of the

specific meaning, themes or topics. For instance, if

the users aim to convey the meaning of cheerfulness,

the standard visual components might be the beers,

people's smiles and colourful background. To

achieve novelty, the typical components could be

replaced with other untypical components that are

remotely relevant. In this case, synaesthesia

experience would be helpful to find out the

corresponding components remotely relevant to the

typical components. We can consider standard

components as the inducers and unregular

components as the concurrences. The following steps

describe the process of matching inducers with

concurrences.

3.2 Classification of Synaesthesia

Types

Many researchers have extensively studied and

applied different classification methods for the

various synaesthesia forms: period-based (neonatal

and adulthood synaesthesia), timeliness-based

(momentary and permanent synaesthesia), function-

based (strong and weak synaesthesia) (Rogowska

2011), and so on. The following steps will be applied

to classify synaesthesia types:

Synaesthesia Clusters Adopted As the results of

studies indicate, 61 different forms of synaesthesia

have been recognized as of 2010 (Day 2016), and by

2022, 164 forms of synaesthesia have been

documented (Ward and Simner 2021). Furthermore,

researchers are frequently accustomed to defining

synaesthesia types through paring inducer and

concurrent (inducer-concurrent synaesthesia) (Ward

and Simner 2021), such as “grapheme-color

synaesthesia” implies letters or numbers evoke an

unusual color. This method of synaesthesia

definition based on synaesthetic phenomena is

Generation of Creativity with Inspiration from Synaesthesia

561

intuitive but also leads to an overwhelming variety of

types and a lack of essential representation.

Accordingly, some methods named “synaesthesia

clusters” have been adopted by several researchers to

generalize and represent a group of related

synaesthesia types (Novich, Cheng, and Eagleman

2011; Ward and Simner 2021). It is notable that

Ward et al. classified synaesthesia clusters in terms

of common "concurrents" rather than common

"inducers” and selected 112 possible synaesthesia

types for cluster categorization after a

comprehensive assessment of 164 synaesthesia

types, ultimately summarizing eight synaesthesia

clusters and ranking their prevalence (which will be

utilized in my following software design) (Ward and

Simner 2021). In this classification model, the

synaesthesia clusters approach is also employed in

the classification of synaesthesia forms, and unlike

the approach proposed by Ward et al., a common

'inducer' will be applied as the aggregated instead of

a common 'concurrent'.

Intra- and Inter-modal Relationship One

possible way to elucidate the process of synesthesia

phenomena is widening the concepts of intra- and

inter-modality processes proposed by Marks (Marks

and Odgaard 2005). Specifically, Intramodal

synaesthesia signifies that the inducers and

concurrents being generated in the same modality,

e.g., seeing colors when seeing black numbers (Rich,

Bradshaw, and Mattingley 2005), whereas

Intermodal synaesthesia refers to inducers and

concurrents arising in different modalities, e.g.,

seeing images when hearing sounds (Baron-Cohen,

Wyke, and Binnie 1987). Regarding the previously

mentioned synaesthetic experience as one sensory

stimulus eliciting one or more sensory stimuli,

intermodal synaesthesia can be split into one-to-one

and one-to-many (multimodal), but the latter scarcely

exists and is excluded from discussion in this model

Five Sensory Modalities As mentioned earlier,

synaesthesia is evoked by sensory modalities.

Specifically, a wide variety of synaesthetic

experiences or phenomena are gained through five

human senses - visual, auditory, tactile, gustatory,

and olfactory. Accordingly, five sensory modalities

can be employed as both inputs to the inducers and

output to the concurrence in this categorization

model. 25 synaesthesia clusters were acquired

through arranging and combining the inputs and

outputs based on one-to-one modality: visual-visual

(visual to visual and the inducers in front), visual-

auditory, auditory-visual, and so on.

In 2011, some researchers pointed out that ninety-

eight percent of the tens of thousands of individuals

reported synaesthetic experiences were activated by

stimuli such as letters, numerals, or words (Novich et

al. 2011). That is, synaesthesia evoked by visual

stimuli predominates, which coincides with the

finding in 2022 that concurrents triggered by visual

stimuli were the most common through an

investigation of 164 possible synaesthesia types in

2925 self-referred synaesthetes (Ward and Simner

2021). Thus, the visual-related synaesthesia clusters

are the focus of the Synaesthesia Classification

Model, which contains nine visual-related

synaesthesia clusters, namely visual-visual, visual-

auditory, visual-tactile, visual-gustatory, visual-

olfactory, auditory-visual, tactile-visual, gustatory-

visual, and olfactory-visual. Furthermore, some

researchers have asserted that intramodal

synaesthesia plays a meaningless role in synaesthesia

classification (Jackson and Sandramouli 2012;

Novich et al. 2011; Ward and Simner 2021). Figure

1 shows the visual-related one-to-one synaesthesia

modality that will be discussed in this system.

Figure 1: visual-related one-to-one synaesthesia modality

3.3 Rules Construction

In this system, the construction of rules is derived

from the summarization and induction of various

synaesthetic experiences, each corresponding to a

synaesthetic experience. Specifically, the inability of

ordinary people (non-synaesthetes) to feel,

experience, or even imagine the spontaneously

generated synaesthesia concurrents when a stimulus

occurs can, to a certain extent, restrict the

imagination or association of people, and hinder the

NMDME 2022 - The International Conference on New Media Development and Modernized Education

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support of creativity. An effective way to overcome

this limitation is to use the rules provided by this

system to help people imagine or associate with more

“infinite possibilities”. In addition, it is also

interesting to note that researchers are keen to focus

on the meaning of stimuli (inducer) (Boden 2007),

the effect of stimuli (Cytowic 2002), while the effect

or meaning of stimulus production (concurrents) has

been ignored. However, the rules are a mapping of

stimulus to the outcome, i.e., the inducer-

concurrents, which not only responds to the effects

of the inducers but also the concurrents, and it

corresponds to the whole process of computer input

and output, so the rules provided by this system can

effectively help people to come up with more

creative ideas.

Table 1 detail the rules generated by inducting

and summarizing the various synesthetic experiences

documented in the literature. It can be seen that most

rules are generated by visual-visual clusters,

followed by auditory-visual. In addition, the most

prevalent concurrents are color and shapes. It is

worth noting that the same inducers can arouse

different concurrents, meanwhile, the same

concurrents can be stimulated by different inducers.

In all, these features provide strong support for the

design of our systems.

Table 1: Rules based on synaesthesia clusters

Synaesthesia

clusters

Rules

Visual-visual

(1) Visual or visual motion triggering evokes color perception

 Inducers: letters, shapes, numbers, swimming style, time units (months, years,

weekdays), numerous sequence units (shoe sizes, height, TV stations, body temperatures), name.

 Concurrents: color (red, green, yellow, etc,)

(2) Visual triggering evokes space perception

 Inducers: letters, numbers, time units, numerous sequence units.

 Concurrents: shapes (circle, oval, ellipse, diamond, star, etc.), three-dimensional shapes,

spatial arrangement (columns, spirals.)

(3) Visual triggering evoke parity

 Inducers: letters, numbers, time units, shapes, words.

 Concurrents: feelings of oddness and evenness.

(4) Visual triggering evokes personalities

 Inducers: letters, numbers, simple shapes, and even furniture.

 Concurrents: rich and detailed personalities

Visual-auditory

((1) Visual motion induces auditory

 Inducers: non-moving visual flashes, continuous visual motion

 Concurrents: non-linguistic sounds (such as beeping, tapping, or whirring), pitches,

chords

Visual-tactile

(1) Visual or imaginary triggering evokes physical touch sensation

 Inducers: others touch, pain

 Concurrents: physical touch (pain)

(2) Visual evoke touches

 Inducers: words, people names, numbers, letters, days, months

 Concurrents: touch

Visual-gustatory

(1) visual triggering evokes tastes:

 Induces: food, playing music words

 Concurrents: emotional valence tastes (unpleasant, neutral, very pleasant tastes), food

flavor, shapes

Visual-olfactory

(1) Visual triggering evokes smells

 Induces: words, Playing music, Months, Peoples names

 Concurrents: flavors

Auditory-visual

(1) Auditory sensations evoke color imagery

 Induces: Hearing words, Voices of different pitch, particular piano note, a tone at 2000

Hz, absolute pitch, being spoken to, complex jarring sounds

 Concurrents: colors (dynamic, the color deepens as the pitch rises and decreases as the

itch decreases)

Generation of Creativity with Inspiration from Synaesthesia

563

(2) Spoken or tone evoke words

 Inducers: tone, being spoken to

 Concurrents: words, reproduction out of the mouth (like ticker taper)

(2) Sounds evoke shapes or numbers

 Inducers: sounds

 concurrents: sha

(

namic random dots, s

uare, circles

)

, numbers

(

0,100, 400

)

Tactile-visual

(1) Tactile stimuli evoke visual motion

 Inducers: tactile

 Concurrents: visual sensation (movement, expansion, jumping)

(2) Tactile stimuli evoke color

 Inducers: touch, thinking about touching

 Concurrents: color

Gustatory-visual

(1) Taste evokes shapes:

 Inducers: food taste

 Concurrents: geometric shapes appear to morph over time (e.g., from pointed to round)

as the taste develops on the tongue

(2) Taste evokes colors:

 Inducers: food taste

 Concurrents: colors

Olfactory-visual

(1) Smell evokes shapes:

 Inducers: food smell

 Concurrents: geometric shapes

4 A CREATIVE IDEA

GENRATION SYSTEM

According to the construction of the previously

mentioned rules, the mapping of inducer and

concurrents are shown in Figure 2 through

summarizing and generalizing. Among them, the red

circle represents concurrents, and the blue one

represents inducer. Thus, a creative idea support

system consists of inducer and concurrents, creative

idea support through different search conditions.

There are two kinds of search ways:

Concurrents-inducer Concurrents are entered

into the system as a search condition, and can then be

output to display various inducers, followed by the

selection of one of the inducers to eject its properties.

For example, the user wants to find the colors

generated under various visual influences, “color” as

concurrents can be entered into the search box, then

inducers: “grapheme”, “swimming style”, “sequence

number” will be demonstrated, followed by clicking

on one of the inducers “swimming style”, the

properties can be output and displayed "butterfly",

“breaststroke”, “freestyle”, etc.

Inducer-Concurrents The inducer is entered

into the system as a search condition, the system then

selects the various matching concurrents. For

instance, “shapes” as inducer can be entered into the

search box, then concurrents such as “color”, “3D

shapes”, “parity”. will be displayed, followed by

kinds of properties.

4.1 System Implementation

Under current circumstances, the search technique of

inducer-concurrents is adopted in the creative idea

support system.

Input According to the previously generated

synaesthesia rules, the system input architecture

derived from the inducers is composed as shown in

Figure 2. In particular, the input architecture consists

of visual, auditory, and gustatory. Specifically, the

visual input selects English words, numbers, and

swimming postures; the auditory input selects sounds

and piano notes; the auditory selects food flavors. In

particular, the four special swimming styles can

trigger color vision in an intuitive picture selection

mode; the selection of sounds adopts the form of a

click-to-play to enable the users to hear a certain

sound; the food flavors are selected by clicking on

one of the taste sensations (sour, sweet, bitter, spicy

and salty). Screenshots of the system of showing

each of the three sensory input are shown in Figure

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Figure 2: Input architecture of the system

(a) (b)

input

visual

english

words

name

week

Mon.,

Tue.,...Sun.

month

Jan.,

Feb.,...Dec.

numbers

sequence

number

height

shoe sizes

quantity

numbers

0~100

swimming

style

freestyle

breaststroke

butterfly

backstroke

auditory

sounds

car hoking

english words name

beep

piano notes

dol, re, mi, fa, sol, la,

tea, dol

gustatory food taste

sour, sweet, bitter,

spicy, salty

Generation of Creativity with Inspiration from Synaesthesia

565

(c)

Figure 3: (a) the visual input of the system. (b) the auditory input of the system. (c) the gustatory input of the system

Output Similarly, the system output architecture

is based on the concurrents of the synaesthesia rules,

as shown in Figure 4. Three common concurrents

(shapes, numbers, and colors) are selected to form

the output picture. Specifically, colors are randomly

generated through visual input which contains twelve

colors (red, orange, yellow, etc.); shapes consist of

four types (animal, geometry, item, and botanical)

which can be randomly selected by auditory input;

numbers are randomly generated from 0 to 10 to

determine the number of shapes. Accordingly, the

final display is a fusion of three elements (shapes,

color, number) of visual output, where the color and

quantity of shapes are determined by visual and

gustatory inputs, respectively. For instance, “Eight

Blue Bottles” will appear on the screen after input, as

shown in Figure 5. It is worth noting that each input

will trigger a different output.

Figure 4: Output architecture of the system

output

shapes

animal

dog

cat

tiger

geometry circle

item

cup lamp

house

botanical

flower tree

grass

numbers 0~10

colors

twelve

colors

red orange

yellow

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Figure 5: Output of the system

5 SYSTEM VALIDATION

The various matching rules of the system come from

the various types of synaesthesia recorded in Table

2. For example, the swimming style that arouses

people to perceive color is the swimming style

synaesthesia type; the piano notes that elicit people

to perceive shapes belong to the colored-hearing

synaesthesia type; food tasting that arouses people to

perceive numbers is the smell-shapes synaesthesia

type. In particular, English words that cause people

to perceive color belong to grapheme-color

synaesthesia - the most common form of

synaesthesia. In addition, swimming style

synaesthesia. Sequence-space synaesthesia are

classified as visual-visual clusters due to the colors,

letters, numbers, swimming style, time units

(months, years, weekdays), etc. are all perceived

visually.

Table 2 visual-related synaesthesia types

Synaesthesia

clusters

Synaesthesia types

Visual-visual

(1) Grapheme-color synaesthesia (Root et al. 2021; Simner and Bain 2013)

(2) Swimming style synaesthesia (Mroczko-Wąsowicz and Werning 2012; Nikolić et al.

2011)

(3) Sequence-space synaesthesia (Price and Mentzoni 2008; Sagiv et al. 2006; Smilek et al.

2007a)

(4) Stimulus-parity synaesthesia (Dumbalska et al. 2017)

(5)Ordinal linguistic personification (OLP) (Simner and Holenstein 2007; Smilek et al.

2007b)

Visual-auditory

(1) Visual-auditory synaesthesia (Noble et al. 2010)

(2) Hearing-motion synaesthesia (Rothen et al. 2017; Saenz and Koch 2008)

Visual-tactile

(1) Mirror-touch synaesthesia (MTS) (Banissy et al. 2009; Banissy and Ward 2007; Ward,

Schnakenberg, and Banissy 2018)

(2) Language-touch (Ward and Simner 2021)

Visual-gustator

(1) Lexical-gustatory synaesthesia (Cytowic 2003; Ward and Simner 2003)

Visual-olfactor

(

)

Lexical-smell s

naesthesia

(

towic 2002; Ward and Simner 2021

)

Auditory-visual

(1) Colored-hearing synaesthesia (Baron-Cohen et al. 1987; Jäncke and Langer 2011;

Lorusso and Porro 2010)

(2) Auditory-visual synaesthesia (Chun and Hupé 2013; Jackson and Sandramouli 2012)

(3) Lexical-gustatory synaesthesia (Luria 1987)

(

)

Ticker ta

er s

naesthesia

(

Chun and Hu

é 2013

)

Tactile-visual

(1) Touch-vision synaesthesia (Armel and Ramachandran 1999)

(

)

Touch-color s

naesthesia

(

Simner and Ludwi

2012

)

Gustator

-visual

(

)

Taste-sha

es s

naesthesia

(

towic 2003; Downe

1911

)

Olfactor

-visual

(

)

Smell-sha

(

towic 2003; C

towic and Wood 1982

)

Generation of Creativity with Inspiration from Synaesthesia

567

6 CONCLUSIONS

We propose a creative support system that generates

creative ideas that can effectively broaden the mind

and provide more clues or ideas for human

association and imagination. It is worth noting that

whereas past approaches have chosen “concurrents”

as the synaesthesia classification. We adopt

“inducers” as the common classification.

Synaesthesia clusters formed on the basis of the five

senses (visual, auditory, tactile, gustatory, and

olfactory) essentially encompasses all synaesthetic

phenomena except for those related to emotions. In

addition, selected visual-related synaesthesia clusters

do not include about 1% of the synaesthetic

experiences, so the system basically reflects the

majority of the synaesthetic experiences. We

discover the mapping relationship between inducers

and concurrents through the analysis of synaesthesia

rules, which led to a more systematic approach to

creative idea support.

Furthermore, visual-related synaesthesia clusters

can also be expanded into related with auditory,

tactile, etc., so that the system can be classified

according to different sensory clusters, allowing for

a wide range of applications, especially in the

creation of human poetry, rhetoric, fiction, etc.

enhancing the richness of imagination or association

elements and cues. The system does not list all the

properties of the inducer, but only some basic

properties, such as “shape” only lists “rectangle,

triangle, circle”, so in the future, the system can be

improved by increasing the properties dictionary.

Creative support systems can be applied to in

assorted working domains such as knowledge

management, programming and music production.

Although such domains have different focus, but the

principles and the major elements have similar

features behind corresponding creative support

system (Hewett 2005).

In all, the diversity of creative ideas generation

methods is broad and abundant. But it is still very

new and rare to involve synesthesia in such domains.

Accordingly, it is believed that it is beneficial to

consider synesthesia’s nature and mechanism as a

potential approach to stimulate more creative ideas.

ACKNOWLEDGEMENTS

First and foremost, I would like to give my deep and

sincere gratitude to this research’s advisor Prof.

Hongji Yang, for providing invaluable guidance

throughout this research. Besides my advisor, I

would like to thank Zhongxi for providing the

analysis of the creative support system and Yue’s

effort on designing the interface of the proposed

system. My warmest thank also goes to Zicheng, for

his insights into the relationship between

synaesthesia and creativity. Thank you again, for

supporting this research.

This work was supported by “Research on

people’s livelihood-oriented urban planning and

management in Jinlin Province, No. 2020

0101058FG”, and “Cloud-based urban visualization

integrated management platform based on big data

and knowledge system, No. 20210203146SF”.

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