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<h1><i><span style="font-size: 16.0pt; color: #0070C0; font-weight: normal">from</span></i><font color="#0000FF">
</font><a href="http://epistemocritique.org/"><span style="color: blue">
�pist�mocritique</span></a></h1>
<p class="MsoNormal"><b><i><span style="font-size: 18.0pt; line-height: 106%">
Synesthete Neuro-biography</span></i><span style="font-size: 18.0pt; line-height: 106%">:
</span><span style="font-size: 14.0pt; line-height: 106%; color: #000090">from
family secret to artistic depiction and cultural activism, </span></b>
<span style="font-size: 12.0pt; line-height: 106%">by Herv</span><span style="font-size: 12.0pt; line-height: 106%">�</span><span style="font-size: 12.0pt; line-height: 106%">
Pierre Lambert</span></p>
<p class="MsoNormal"><b><span style="font-size: 12.0pt; line-height: 106%">
Autobiographical descriptions in the age of neurological synesthesia research:
particular patterns of description in synesthetes� autobiographies</span></b></p>
<p class="MsoNormal" style="text-indent: .5in"><b>
<span style="font-size: 12.0pt; line-height: 106%">Excerpts</span></b><span style="font-size: 12.0pt; line-height: 106%">
from �Synesthesia: views from the Inner Landscape� (originally, �La Syn</span><span style="font-size: 12.0pt; line-height: 106%">e</span><span style="font-size: 12.0pt; line-height: 106%">sth�sie
: Vues de l�int</span>�<span style="font-size: 12.0pt; line-height: 106%">rieur�
by Herv</span><span style="font-size: 12.0pt; line-height: 106%">�</span><span style="font-size: 12.0pt; line-height: 106%">
Pierre Lambert </span></p>
<p class="MsoNormal" style="text-indent: .5in">
<span style="font-size: 12.0pt; line-height: 106%; color: blue">http://epistemocritique.org/la-synesthesie-vues-de-linterieur/)</span></p>
<p class="MsoNormal"><i>
<span style="font-size: 12.0pt; line-height: 106%; color: maroon"> </span></i></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 106%"> If
the recently acquired scientific knowledge on synesthesia is linked to a
revolution in cognitive neuroscience, this revolution, in turn, led to a
cultural revolution in the way society viewed synesthetes and synesthetes viewed
themselves.</span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 106%">
This scientific Renaissance was accompanied by a revolution in both word and
action. Synesthetes started to observe their perceptions and to claim them. A
real cultural activism was born with the creation of synesthesia associations,
conferences, seminars, exhibitions, blogs and chats on the Internet. Synesthetes
published texts on their perceptions and synesthetes were more frequently
characterized in fiction, often by authors who were not synesthetes themselves.
The revolution in the relationship between synesthesia and literature could be
seen in the publications about and by synesthetes, who told their life stories
through describing the �lens� of synesthetic perceptions through which they
viewed the world, together with careful observation of their inner experience.
This transformation marked an end to keeping the inner life of synesthetic
experience �secret� and of the concomitant sense of isolation this created.
</span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 106%">
With this Synesthetic Renaissance, at the beginning of the new millennium, two
influential and pioneering works by synesthetes on synesthesia were published:
�A Vision Shared: A Firsthand look into Synesthesia and Art� (Leonardo) by the
artist, Carol Steen and <i>Blue Cats and Chartreuse Kittens: How Synesthetes
Color Their Worlds</i> (Henry Holt & Company) by Patricia Lynne Duffy. Duffy is
herself a synesthete and close friend of artist Carol Steen. Duffy�s book, <i>
Blue Cats</i> contains a consideration of the current state of synesthesia
research in the arts and sciences, along with an autobiographical description of
Duffy�s own synesthesia, perhaps a <i>model par excellence</i> of such
autobiography, which also includes a presentation of other synesthete-artists
and intellectuals, among them, her friend Carol Steen. </span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 106%">
Duffy and Steen have played an important role in disseminating information on
renewed research into synesthesia. Together, they created the American
Synesthesia Association, which, since 1995, has been organizing important
conferences on synesthesia. The cultural revolution in synesthesia research also
led to a change in attitude among synesthetes themselves toward their unusual
perceptions, which before they had often kept hidden or shared only with those
closest to them.</span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 106%">
Carol Steen begins her autobiographical portrait in �A Vision Shared: a first
hand Look into Synesthesia and Art� with:</span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 106%"> </span></p>
<p class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph; text-indent: 28.35pt; margin-left: 28.35pt; margin-right: 20.95pt; margin-top: 0in; margin-bottom: 8.0pt">
<span style="font-size: 10.0pt; line-height: 106%">I have been an artist since
the late 1960�s. For many years, I did not disclose or recognize much about the
source of the subject matter in my paintings and sculpture. When I was younger,
I had reservations about letting other people know about my synesthesia because
I had no information about it.</span></p>
<p class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph; text-indent: 28.35pt; margin-right: 20.95pt">
<span style="font-size: 12.0pt; line-height: 106%"> </span></p>
<p class="MsoNormal" style="text-indent: 28.35pt">
<span style="font-size: 12.0pt; line-height: 106%">In a similar vein, Pat Duffy
writes of her reluctance to share her synesthetic perceptions: "Unless people
are open to hearing about synesthesia, I feel reluctant to discuss it.
Embarrassment creeps over me as I describe my �strange� perceptions to people
who are wondering if I�m a lunatic or a liar"(62).The scientific recognition of
the phenomenon of neurological synesthesia liberated both Duffy and Steen from
the secretlykeptperceptions and the isolation it had produced. The two
autobiographical texts by Duffy and Steen have led to numerous articles,
interviews, lectures. Their autobiographical descriptions are examples of
�neuro-biography� or, more particularly, �synesthetic autobiography� to the
extent that the life episodes described arise from or are framed by their
synesthetic experiences. In each case, the beginning episodes depict the
realization that others do not share the same synesthetic perceptions. The
second episode describes keeping the perceptions secret after suffering a trauma
of others mocking or doubting them.</span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 106%">
Another episodic moment in the autobiographical descriptions of synesthetes is
the discovery that another member of the family shares the same condition and
the same secret, as evidence points to the fact that the trait of synesthesia is
passed on genetically. Carol Steen tells of realizing her father shared the same
form of perception, but that this information remained between father and
daughter, still secret from the rest of the family. Carol attributes her
father�s reticence in sharing his synesthetic perceptions as typical of his
generation. She, herself, at a certain point decides to be forthright about her
experience. As she writes, �Once, when I was 20, I was back from school and
having dinner with my family. I was talking to my father, and for some reason, I
announced, �The number 5 is yellow.� My father said, �No it�s more like
yellow-ochre.� My mother and brother looked puzzled, but I realized I wasn�t
alone�. (61)</span></p>
<p class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph">
<span style="font-size: 12.0pt; line-height: 106%"> The recognition of one�s
own difference from others is the first episode in the neuro-biography, <i>Blue
Cats</i>, which begins, �I was sixteen when I found out.� The author goes on to
describe her father�s surprised reaction to her casual �mention-in-passing� of
her colored letter and word perceptions. As Pat Duffy writes:</span></p>
<p class="MsoNormal"><b>
<span style="font-size: 12.0pt; line-height: 106%; color: red"> </span></b></p>
<p class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph; text-indent: 28.35pt; margin-left: 28.35pt; margin-right: 20.95pt; margin-top: 0in; margin-bottom: 8.0pt">
<span style="font-size: 10.0pt; line-height: 106%">My father felt surprised at
my description of these and I felt surprised at his surprises. It was one of
those coming-of-age moments when I glimpsed that the world might not really be
as I had grown up perceiving it.</span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 106%">
At a time when an adolescent discovers a sense of individuality, the
synesthete also realizes others see the world in a different way, which comes as
an enormous surprise. This moment of awareness can be traumatic, as the renowned
neurologist, Dr. Richard Cytowic writes, �As children, synesthetes are surprised
to discover that others are not like them. Often ridiculed and disbelieved, they
keep their atypical perceptions private.� Such was the case of Carol Steen, who
relates an incident that happened with she was seven years old: </span></p>
<p class="MsoNormal" style="text-indent: 28.35pt; margin-left: 28.35pt; margin-right: 20.95pt; margin-top: 0in; margin-bottom: 8.0pt">
<span style="font-size: 10.0pt; line-height: 106%">I was walking home from
school with a classmate and I said to her, "The letter �A� is the prettiest
pink!� But she told me, �you�re weird!� And I thought, �Well, I won�t tell you
what �B� looks like.� It silenced me. </span></p>
<p class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph; text-indent: .5in">
<span style="font-size: 12.0pt; line-height: 106%">Another crucial moment in the
autobiographical texts of the developing is the discovery that �synesthesia� is
a known phenomenon, a fact that brings great feeling of relief to the
synesthete. For Pat Lynne Duffy, as for Carol Steen, such information was come
upon by accident. Pat Duffy calls this moment, �a personal epiphany�(62). It
happened in Patricia Duffy�s early 20�s as she sat in the waiting room of her
dentist�s office. From a collection of magazines on the table, she picked up a
copy of <i>Psychology Today</i>, which had as its cover story, �Can you taste
and hear in color? Synesthesia: the lucky people with mixed-up senses.� The
article was written by long-time a synesthesia researcher, neuroscientist, Dr.
Lawrence Marks, who wrote the now classic book, <i>Synesthesia: A Unity of the
Senses</i>. Patricia Duffy describes later reading Marks� article aloud to her
father �As I read, my father and I both became more and more elated. I felt
that my perceptions were validated, and my father felt his appreciation of them
was as well�. (36)</span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 106%"> </span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 106%">
Carol Steen also relates the circumstances of her �personal
epiphany� which brought her a sense of liberation. As Steen writes, �It gave me
my freedom� � hearting, just by chance a radio interview with the neurologist,
Dr. Richard Cytowic, who was talking about synesthesia. As Steen points out,
prior to that, she had no knowledge of her condition�only that it was a secret
power she could use in her artwork. Cytowic�s interview was a revelation that
was to change the course of her life: �In 1993, I heard a Washington DC
neurologist, Richard E. Cytowic, interviewed on National Public Radio. This was
the first time in my life that I had learned anything about synesthesia�. (63)</span></p>
<p class="MsoNormal" style="text-indent: .5in">
<span style="font-size: 12.0pt; line-height: 106%">The discovery of information
on the condition is experienced as a liberation, which leads to the final step
of communicating and sharing the synesthetic perceptions with others. As
Patricia Lynne Duffy writes of Carol Steen in <i>Blue Cats</i>:�Although she is
committed to expressing them now, Carol spent most of her life keeping silent
about her synesthetic perceptions, as many synesthetes do�. (60)</span></p>
<p class="MsoNormal" style="text-indent: .5in">
<span style="font-size: 12.0pt; line-height: 106%">Living with �the secret� is
one of the essential themes of the autobiographical descriptions of synesthetes.</span></p>
<p class="MsoNormal" style="text-indent: .5in">
<span style="font-size: 12.0pt; line-height: 106%">The recognition of being
�different�, usually as a consequence of a traumatic incident, is the lot of the
synesthete. Even of the synesthetic perception does not present any cognitive or
neurological handicap, it can cause the synesthete psychological suffering in a
society that does not believe in the existence of this form of perception.
</span></p>
<p class="MsoNormal" style="text-indent: .5in">
<span style="font-size: 12.0pt; line-height: 106%">In the past, synesthetes
experiences have been documented by others, usually non-synesthetes in the
medical field Psychiatrist Alexander Luria documented the case of extreme
synesthesia experienced by Solomon Shereshefsky (who claimed every word and
every other sound had not only a color, but also a taste and a
weight).Similiarly, in Dr. Richard Cytowic�s book on synesthete Michael Watson,
the voice of the synesthete appears in the form of quotations. In works by
synesthetes Carol Steen and Patricia Lynne Duffy, the voice of the synesthete
gives us a direct, inside view of the experience.</span></p>
<p class="MsoNormal" style="text-indent: .5in">
<span style="font-size: 12.0pt; line-height: 106%">An earlier direct �inside
view� of synesthesia can be found in the second chapter of <i>Speak, Memory</i>,
(date) the autobiography of Vladimir Nabokov, great twentieth century fiction
writer. Nabokov includes a �confession� of his synesthetic perception:</span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 106%"> </span></p>
<p class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph; text-indent: 28.35pt; margin-left: 28.35pt; margin-right: 20.95pt; margin-top: 0in; margin-bottom: 8.0pt">
<span style="font-size: 10.0pt; line-height: 106%">I present a fine case of
colored hearing. Perhaps �hearing� is not quite accurate, since the color
sensation seems to be produced by the very act of my orally forming a given
letter while I imagine its outline�The confessions of a synesthete must sound
pretentious to those who are protected from such leakings and drafts by more
solid walls than mine are.</span><span style="font-size: 12.0pt; line-height: 106%">
(</span><span style="font-size: 10.0pt; line-height: 106%">Nabokov 1963/1991,p.
53)</span></p>
<p class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph; text-indent: 28.35pt; margin-left: 28.35pt; margin-right: 20.95pt; margin-top: 0in; margin-bottom: 8.0pt">
<span style="font-size: 12.0pt; line-height: 106%"> </span></p>
<p class="MsoNormal" style="text-indent: .5in">
<span style="font-size: 12.0pt; line-height: 106%">This �confession�, in
Nabokov�s own words, contains the classic description of a grapheme-color
synesthete. An alphabet letter can provoke a color perception, which in
Nabokov�s case could vary with the different alphabets he had mastered: English
and French, along with his native Russian.</span></p>
<p class="MsoNormal" style="text-indent: .5in">
<span style="font-size: 12.0pt; line-height: 106%">Nabokov�s autobiographical
description includes the identified pattern of synesthetes� life episodes; in
the author�s case, two of the most important episodes were experienced on the
same day, his seventh birthday: Nabokov discovered the atypical nature of his
perception and that of his mother, Vera�also a synesthete, possessing �audition
color�e� or colored hearing. Nabokov made use of his personal experience of
synesthesia in his novel, <i>The Gift, </i>where the main character, Fyodor, a
poet,offers a beautiful description of his colored-word synesthesia.</span></p>
<p class="MsoNormal" style="text-indent: .5in">
<span style="font-size: 12.0pt; line-height: 106%"> </span></p>
<p class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph; text-indent: 28.35pt; margin-left: 28.35pt; margin-right: 20.95pt; margin-top: 0in; margin-bottom: 8.0pt">
<span style="font-size: 10.0pt; line-height: 106%">The various numerous �a�s� of
the four languages I speak differ for me in tinge, going from lacquered black to
splintery-gray like different sorts of wood. I recommend to you my pink flannel
�m��if I had some paints handy I would mix burnt sienna and sepia for you as to
match the color of a��ch� sound�and you would appreciate my radiant �s� if I
could pour into your cupped hands some of those luminous sapphires that I
touched as a child. (Nabokov p. 75)</span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 106%"> </span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 106%">
It is interesting to note that fictional works with
synesthete-characters also follow the same sequence of episodes as synesthetes�
neuro-biographies. Such traumatic incidents are commonly found in fictional
stories of synesthetes. In the �neuro-novel, <i>A Mango-Shaped Space</i> begins
with its main character, an eight-year-old girl, being ridiculed in front of her
classmates. Called up to the blackboard to write the figures of an equation,
Mimi naturally uses the chalk colors that correspond to the colors she perceives
in each number�to the irritation of her teacher and the confusion of her
classmates. As the character describes, �I stood with my arms at my sides,
sleeves hanging halfway to my knees. Was I the only one who lived in a world
full of color?� Mimi�s writing of her colored numbers aroused the general
mockery of her classmates, along with a punishment from her teacher. Called
before the school principal and her parents to explain the reason for her
behavior in class, Mimi decides to tell a believable lie rather than reveal the
truth about her form of perception:</span></p>
<p class="MsoNormal" style="text-indent: 28.35pt; margin-left: 28.35pt; margin-right: 20.95pt; margin-top: 0in; margin-bottom: 8.0pt">
<span style="font-size: 10.0pt; line-height: 106%">Even at eight years old, I
was smart enough to realize that something was very wrong and that, until I
figured out what it was, I�d better not get myself in deeper trouble�I learned
to guard my secret well.</span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 106%">
In the neuro-novel, <i>A Mango-Shaped Space</i> by Wendy Mass, the
main character learns about her synesthesia in the course of a medical exam her
parents make her undergo�worried that her colored number perceptions result from
a cancerous brain tumour!As Mimi�s doctor tells her, �You don�t have a disease.
You don�t even have a problem, exactly. What you have is a condition that is
harmless. It�s called �synesthesia�.� (64)</span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 106%"> </span></p>
<p class="MsoNormal"><b><span style="font-size: 12.0pt; line-height: 106%">
Diverse worlds of synesthetes</span></b></p>
<p class="MsoNormal"><b><span style="font-size: 12.0pt; line-height: 106%"> </span></b></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 106%">
Another typical episode in the life of a synesthete, is the
discovery that other synesthetes don�t make the same color or other synesthetic
associations. Comparing synesthetic percepts and types of synesthesia is a main
topic of discussion among synesthetes. Patricia Lynne Duffy summarizes the
�happy sense of relief that emerges� from such discussions with
fellow-synesthetes: �Yes, you see what I see even if you see it in the wrong
color.�(65)</span></p>
<p class="MsoNormal" style="text-indent: 28.35pt">
<span style="font-size: 12.0pt; line-height: 106%">In her autobiographical essay
in <i>Leonardo</i>, Carol Steen brilliantly describes this universe of hidden
synesthetic perceptions. She enumerates the diverse forms of synesthesia that
she experiences and analyses how they are incorporated into her paintings and
sculptures, as she has developed a form of art inspired by her synesthesia. The
opening of her essay has a solemn tone, as the artist realizes the therapeutic
aspect of confessing her synesthesia, which also has the pioneering aspect of
exploring an as yet under-explored phenomenon. In the passage below, Steen is
aware of speaking for others, who are still hiding their condition:</span></p>
<p class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph; text-indent: 28.35pt; margin-left: 28.35pt; margin-right: 20.95pt; margin-top: 0in; margin-bottom: 8.0pt">
<span style="font-size: 10.0pt; line-height: 106%">In writing this paper now, I
seek personal liberation. I no longer wish to conceal my abilities, my areas of
experience, my vocabulary of colors and shapes and what I have observed to be
their triggers. Even though a tremendous amount of scientific knowledge remains
to be obtained, I hope what I share here will be of use to those synesthetes who
have remained silent, unaware that others share their perceptions, and to those
who are studying synesthesia as a perceptual phenomenon.�(</span><span style="font-size: 12.0pt; line-height: 106%">66)</span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 106%">
The work of the contemporary synesthete artist is accompanied by a
commentary that describes the circumstances in which the work was created and
how the vision was triggered. This is the case of the synesthete artist, Carol
Steen and similarly, the case of the synesthete photographer, Marcia Smilack,
who possesses a rare form of bi-directional synesthesia. Smilack transforms
sounds into images, but discovered later that she could also transform images
into sound. �I hear with my eyes� and see with my ears� as she describes. </span>
</p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 106%">
On her web site, Smilack also presents an autobiographical context,
where we can find the same set of major episodes we can find described by Duffy
and Steen, but with a difference. While Steen, for example credits Cytowic with
playing a major revelatory role in her understanding of her synesthesia, Smilack
recalls how her revelation began with the piano: the first note that she played
on it was green! She kept this secret, commented later that her experience of
sounds triggering of colors had not yet reached full consciousness. Only as an
adult did she realize that she could experience color with two senses, a rare
case of bi-directional synesthesia. As Smilack describes, �I was twenty-five
years old before I heard that word or understood that not everyone perceives the
world as I do� (68) At about the same age, by chance, Smilack met a psychology
student who told her that she might be a synesthete, but her interest in this
would be short-lived. She looked up this word, �synesthesia�, which she had
never heard before in a medical dictionary and found it, as she describes
�between the words �seizure� and �syphilis� -- which squelched her curiosity and
put her in a state of denial about her own possible link to it. But at a later
moment in her life, she would become aware -- but this time, not through the
words of a scientist or doctor�but of another synesthete! It was only in 1999,
when she read a <i>New York Times</i> article which quoted Carol Steen that she
gained full awareness:</span></p>
<p class="MsoNormal" style="text-indent: 28.35pt; margin-left: 28.35pt; margin-right: 20.95pt; margin-top: 0in; margin-bottom: 8.0pt">
<span style="font-size: 10.0pt; line-height: 106%">Then, in 1999, I picked up a
New York Times and read an interview with Carol Steen, a synesthete and artist
living in New York City. She put into words what I had known but had never said
to anyone, not even to myself. The article included her email address. I sent
her a message with the header, �I hear with my eyes�. She answered right away.
�Welcome to the club, you�re in good company.</span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 106%"> </span></p>
<p class="MsoNormal"><b><span style="font-size: 12.0pt; line-height: 106%">A
Cultural Revolution</span></b></p>
<p class="MsoNormal"><b><span style="font-size: 12.0pt; line-height: 106%"> </span></b></p>
<p class="MsoNormal" style="text-indent: 28.35pt">
<span style="font-size: 12.0pt; line-height: 106%">Similarly, other authors,
such as Daniel Tammet, who experiences both autism (Asperger�s syndrome) and
synesthesia, writes of his inner experience in his autobiography, <i>Born on a
Blue Day</i>, the title making reference to his synesthetic colors for days of
the week. Tammet�s synesthetic perceptions also extend to numbers, which for
him, also have form, texture and movement in space. In his book, Tammet takes
part in the trend of artists and others with neurological anomalies to describe
their unusual perceptions from the inside out.</span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 106%">
In much the same way, in 1992, Jennifer Hall, an American artist who
is epileptic, grouped together painters with epilepsy, showing the effects of
their epilepsy on themselves and the works they produced. Artists who experience
a range of pathological or anomalous neurological conditions from epilepsy to
autism to Alzheimer�s and other types of dementia have presented artistic works
linked to their conditions, often with the collaboration of scientists who study
them.</span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 106%">
The development of the autobiographical descriptions of the inner
landscape of synesthesia have been spread through the Internet, helping to
transform the synesthetic experience from �family secret� to subject of
laboratory study and artistic depiction. All this has led to the networking of
synesthetes and those who study them, both creating and enhancing this community
of explorers, and completely revising the way synesthetes see themselves and
others see them: a total revolution.</span></p>
<p class="MsoNormal"><b><i><span style="font-size: 12.0pt; line-height: 106%">
--excerpts translated and edited by Patricia Lynne Duffy</span></i></b></p>
<p class="MsoNormal"><b><i><span style="font-size: 12.0pt; line-height: 106%"> </span></i></b></p>
<p class="MsoNormal"><i><span style="font-size: 12.0pt; line-height: 106%">
Herv�_Pierre Lambert,</span></i></p>
<p class="MsoNormal"><i><span style="font-size: 12.0pt; line-height: 106%">"La
synesth�sie: Vues de l'int�rieur". </span></i></p>
<p class="MsoNormal"><i><span style="font-size: 12.0pt; line-height: 106%"> www.epistemocritique.org</span></i></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 106%">
<a href="http://epistemocritique.org/la-synesthesie-vues-de-linterieur/">
http://epistemocritique.org/la-synesthesie-vues-de-linterieur/</a> </span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 106%">N� 8,
2015.</span></p>
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