Synesthesia based in visual modalities has been associated with reports of vivid visual imagery. We extend this finding to consider whether other forms of synesthesia are also associated with enhanced imagery, and whether this enhancement reflects the modality of synesthesia. We used self-report imagery measures across multiple sensory modalities, comparing synesthetes' responses (with a variety of forms of synesthesia) to those of nonsynesthete matched controls. Synesthetes reported higher levels of visual, auditory, gustatory, olfactory and tactile imagery and a greater level of imagery use. Furthermore, their reported enhanced imagery is restricted to the modalities involved in the individual's synesthesia. There was also a relationship between the number of forms of synesthesia an individual has, and the reported vividness of their imagery, highlighting the need for future research to consider the impact of multiple forms of synesthesia. We also recommend the use of behavioral measures to validate these self-report findings.KEYWORDS: synesthesia, mental imagery, visual imagery, auditory imagery, gustatory imagery, tactile imagery, olfactory imagery Highlights: We compare self-reported mental imagery across many variants of synesthesia. Synesthetes report more vivid imagery than controls across multiple modalities. Enhanced imagery is limited to modalities involved in an individual's synesthesia. We advise researchers to consider the impact of multiple forms of synesthesia.

For people with synaesthesia letters and numbers may evoke experiences of colour. It has been previously demonstrated that these synaesthetes may be better at detecting a triangle made of 2s among a background of 5s if they perceive 5 and 2 as having different synaesthetic colours. However, other studies using this task (or tasks based on the same principle) have failed to replicate the effect or have suggested alternative explanations of the effect. In this study, we repeat the original study on a larger group of synaesthetes (n ¼ 36) and include, for the first time, an assessment of their self-reported colour experiences. We show that synaesthetes do have a general advantage over controls on this task. However, many synaesthetes report no colour experiences at all during the task. Synaesthetes who do report colour typically experience around one third of the graphemes in the display as coloured. This is more consistent with theories of synaesthesia in which spatial attention needs to be deployed to graphemes for conscious colour experiences to emerge than the interpretation based on 'pop-out'.

Visuo-spatial representations of the alphabet (so-called 'alphabet forms') may be as common as other types of sequence-space synaesthesia, but little is known about them or the way they relate to implicit spatial associations in the general population. In the first study, we describe the characteristics of a large sample of alphabet forms visualized by synaesthetes. They most often run from left to right and have salient features (e.g., bends, breaks) at particular points in the sequence that correspond to chunks in the 'Alphabet Song' and at the alphabet mid-point. The Alphabet Song chunking suggests that the visuo-spatial characteristics are derived, at least in part, from those of the verbal sequence learned earlier in life. However, these synaesthetes are no faster at locating points in the sequence (e.g., what comes before/after letter X?) than controls. They tend to be more spatially consistent (measured by eye tracking) and letters can act as attentional cues to left/right space in synaesthetes with alphabet forms (measured by saccades), but not in non-synaesthetes. This attentional cueing suggests dissociation between numbers (which reliably act as attentional cues in synaesthetes and non-synaesthetes) and letters (which act as attentional cues in synaesthetes only).

Crossmodal correspondences are a feature of human perception in which two or more sensory dimensions are linked together; for example, high-pitched noises may be more readily linked with small than with large objects. However, no study has yet systematically examined the interaction between different visual-auditory crossmodal correspondences. We investigated how the visual dimensions of luminance, saturation, size, and vertical position can influence decisions when matching particular visual stimuli with high-pitched or low-pitched auditory stimuli. For multidimensional stimuli, we found a general pattern of summation of the individual crossmodal correspondences, with some exceptions that may be explained by Garner interference. These findings have applications for the design of sensory substitution systems, which convert information from one sensory modality to another.

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