for people with forms of synaesthesia, they experience many of these mixing of senses. Typically synaesthesia starts in early childhood and is consistent as the person ages. It is known that the experiences occur with no conscious effort. There are two common forms of synaesthesia, color–graphemic synaesthesia, where specific numbers and letters or words, written and/or spoken, provoking a reaction to seeing different colors. And the second being, color–phonemic synaesthesia, the spoken form. There
Webster dictionary defines synaesthesia as “a subjective sensation or image of a sense other than the one being stimulated” (Wyld,1963). Synaesthesia is a condition that causes someone to have associations of usually color with certain everyday things, such as numbers or letters. There are several different types of synaesthesia that will be discussed in this paper digit-color synaesthesia, odor-color synaesthesia, and person- and music-color synaesthesia. A common effect that is discussed when talking
amino acids, neuropeptides such as endorphins, monoamines such as serotonin and dopamine, purines and lipids and gases (Cherry K, 2014). Psychoactive drugs are classified into five different groups depending on how they affect the brain. In this essay I will be looking at three of these groups: stimulants, depressants and hallucinogens and how they exert influence on neural processing. Stimulants are a type of psychoactive drug that increase the brains activity. These drugs can amplify alertness
world around them (Mehling et al., 2009). What happens though, when there are major alterations to our physical state? How do we cope when our brain and our body are telling us different information? It is these questions that will be covered in the essay with a strong focus on two abnormal syndromes known as phantom limb and anosognosia. When a person suffers from an extreme disease or injury, they can experience both physical and mental pain. In the case of Phantom limb, the physical pain can be
youthful offspring of the old elites, certainly used fin de siècle as a theme. There is evidence of a conflict with the concept of fin de siècle, but it is too simple to say that they displayed a fear of fin de siècle. As I will try to show in this essay, the modernist reaction to and interpretation of fin de siècle is not static and, as though proportional to the development of modernity as an aesthetic, develops through works of varying mediums by different authors over the period identified as 'modernist'