The aim of the present study was to test the relationship between different types of synaesthesia and their involvement in art, creative, and visual abilities. We tested 20 grapheme‐colour, 18 sound‐colour, 19 grapheme‐colour‐and‐sound‐colour, 20 sequence‐space synaesthetes, and the same number of controls matched by age, gender, and education. We assessed the number of artistic professions, involvement in art, and the performance in psychometric tests of divergent and convergent creativity, as well as visual and visuo‐spatial abilities. Results show a higher prevalence of artists among synaesthetes, especially sound‐colour synaesthetes. Sound‐colour synaesthetes also showed a higher involvement in artistic activities overall while sequence‐space synaesthetes showed higher involvement in visual art. Only grapheme‐colour‐and‐sound‐colour synaesthetes showed significantly higher divergent creativity compared to matched controls. Additionally, overall, synaesthetes scored higher in visuo‐spatial abilities (i.e., mental rotation). For synaesthetes and controls, visuo‐spatial abilities correlated with divergent creativity. We discuss that synaesthetes’ higher involvement in art is not necessarily reflected in their basic creative abilities.

The goal of the present study was to take a new look at the relationship between creativity and cognitive functioning. Based on models that have postulated domain- and sub-domain-structures for different forms of creativity, like scientific, technical or artistic creativity with cognitive functions as important basis, we developed a new questionnaire. The Artistic Creativity Domains Compendium (ACDC) assesses interest, ability and performance in a distinct way for different domains of artistic creativity. We present the data of 270 adults tested with the ACDC, standard tests of divergent and convergent thinking, and tests of cognitive functions. We present fine-grained analyses on the internal and external validity of the ACDC and on the relationships between creativity, working memory, attention, and intelligence. Our results indicate domain-specific associations between creativity and attention as well as working memory. We conclude that the ACDC is a valid instrument to assess artistic creativity and that a fine-grained analysis reveals distinct patterns of relationships between separate domains of creativity and cognition.

The goal of this study was to test the nature of the memory advantage in synaesthesia. We compared four different types of synaesthetes (27 grapheme-colour, 21 sound-colour-, 25 grapheme-colour-and-sound-colour- and 24 sequence-space synaesthetes) to their matched controls. Recognition memory for three types of stimuli (music, words, colour) was tested. We anticipated a general advantage in memory for synaesthetes and potentially additional synaesthesia-specific benefits. The results showed a general advantage for synaesthesia. Further, a benefit for colour stimuli resulted for grapheme-colour synaesthetes and a benefit for music stimuli resulted for grapheme-colour-and-sound-colour synaesthetes, indicating synaesthesia-type specific effects. These results suggest different mechanisms for the explanation of the memory benefit for different types of synaesthesia such as synaesthesia-related colour expertise for grapheme-colour synaesthesia and additional encoding opportunities for grapheme-colour-and-sound-colour synaesthesia.

Ward and Banissy provide an excellent overview of the state of mirror-touch research in order to advance this field. They present a comparison of two prominent theoretical approaches for understanding mirror-touch phenomena. According to the threshold theory, the phenomena arise as a result of a hyperactive mirror neuron system. According to the Self-Other Theory, they are due to disturbances in the ability to distinguish the self from others. Here, we explore how these two theories can inform theories of synesthesia more generally. We conclude that both theories are not suited as general models of synesthesia.

For people with synaesthesia ordinary stimuli such as digits or letters induce concurrent experiences such as colours. Synaesthesia is associated with a memory advantage and the aim of this study was to investigate whether this advantage persists across time. We tested recognition memory of four different types of synaesthesia with different inducer-concurrent pairings across two sessions with a one-year retention interval. In the study phase, participants learned three kinds of stimuli (i.e., related to their inducer, related to their concurrent, or synaesthesia-unrelated): music, words and colours. Recognition memory was tested after one hour and after one year. After one hour, grapheme-colour and grapheme-colour-and-sound-colour synaesthetes showed synaesthesia-specific advantages. After one year, only grapheme-colour synaesthetes still showed an advantage. The results imply that a benefit through enhanced colour-processing is particularly strong and that synaesthesia can lead to a long-lasting memory benefit.