Problems of research synesthesia: theory and practice Visual practices in the activities of Tomsk urban eco-communities

Onsideration of a problem is based on the analysis of the diverse data devoted to the description of historical aspect of formation of scientific knowledge about structure of musical endowments and a concept of a sinesteziya. In the course of research the sinesteziya in which the most significant trends of formation of complete idea of all semantic measurements of this phenomenon are defined is given the analysis of various approaches to definition of the term. Some of the most ancient mentions of a sinesteziya can be considered mentions in philosophy of the East and Ancient Greece. In particular, in ethic and religious exercises of India and China there is an idea of communication of body of knowledge with qualities of an object of knowledge. Philosophers sensationalists made a powerful contribution to understanding of interaction of elements of a perceptual system of the person. D. Yum's concept with enthusiasm was apprehended by the philosopher -the educator I.G. Herder (1778) who considered that by means of one body of perception it is impossible to penetrate into a phenomenon essence. The French materialist E.B. de Condiliac in “The treatise about feelings” (1754), resorting to D. Yum's ideas and developing them, asks a question of the general nature of all feelings and indissoluble communication between them. Sinesteziya is considered as the concept reflecting a form of perception, communication between feelings in mentality, results of their manifestations in the concrete fields of art. In modern science classification of the touch sphere is defined by division of feelings into five modalities: touch, taste, sense of smell, hearing and sight. According to given classifications today several forms of a sinesteziya are revealed: acoustical, flavoring, color, each of which received the name according to the nature of the arising additional feelings. Information of the detailed analysis of researches of a definition of a concept a sinesteziya is provided. The structure of a periodic system of arts and intersensual associations developed by B. Galeyev is analyzed. Initial position of a system is division of arts according to polar signs “visual - acoustical”, “graphic - expressive”. In the center of a system there is an indivisible syncretic art as the beginning in genesis of arts. In the course of specialization of art activity there is a division of arts into music (1), an architecture/ornament (2), a paint-ing/sculpture (3) and art of word (4). The description of sinestetichesky methodology in the context of musicology of the Novosibirsk scientist N. Kolyadenko is submitted. The scientific base of concepts of the author studying the mental mechanism of intersensual associations is considered; a sinestetichnost as “the system property of nonverbal art thinking determined by existence in it of intermodal associations”, and the associative sinestetichesky mechanism which fills with polymodal power formation of pointless images in music and adjacent arts. The scheme of patrimonial modification of arts and the sinestetichesky interpretation of meanings developed by the author which is carried out at three levels of the musical text is analyzed (phonic, composite and intonational). Consideration of the sequence of the offered material on formation of a concept of a sinesteziya will allow to track fully further interrelation them with an art sinesteziya.