Inter-species correspondences in art: conceptualization of isomorphism in contemporary humanities

The subject of the study is the interspecies correspondences of various forms of art at the level of sensory perception organization. The aim of the research is to rethink the problem of the synthesis of arts based on the idea of isomorphic organization of perceptual experience developed in contemporary cognitive science. The work reveals the limitations of structuralist and semiotic approaches to the problem of the synthesis of arts, caused by their focus on formal analogies and insufficient elaboration of the perceptual foundations of interspecies comparisons. It is shown that referring to research on perceptual experience allows interpreting interspecies synthesis of arts through stable and objective cross-modal correspondences of perception, rather than as subjective associations or metaphorical analogies characteristic of synesthesia. Isomorphism is interpreted as the preservation of relationships between the elements of heterogeneous media despite the differences in their material nature. Within the framework of the research, the main types of isomorphism between music and painting are distinguished, namely: isomorphism of source, form, organization, and emotional impact. The methodological basis of the research consists of cognitive aesthetics and philosophy of perception; analytical and comparative-theoretical methods are used. Key parameters of cross-modal correspondences of elements in artworks are systematized, including: intensity, spatial position, temporal location, qualitative and structural-compositional characteristics. Using the relationship between music and painting, the main types of isomorphism and parameters of cross-modal correspondences that are amenable to analytical description are demonstrated. The scientific novelty of the research lies in the introduction and substantiation of the concept of cross-modal isomorphism into the Russian-speaking scientific context as a methodological concept of art studies, possessing analytical and heuristic value. As a result, the foundations of interspecies comparisons are clarified, and a more rigorous analytical framework is proposed for interpreting the aesthetic concepts and creative intuitions of 20th-century art practitioners, particularly Wassily Kandinsky. The results obtained expand the theoretical toolkit for analyzing the synthesis of arts and can be used in studies of art history and theory.