Convergence of Time and Space

Battey, Bret; Fischman, Rajmil

doi:10.1093/oxfordhb/9780199841547.013.002

Cited by 4 publications

(3 citation statements)

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“…Thereafter, it will be intriguing to consider whether there is any additional value, or meaning, to a consideration of multisensory as opposed to merely crossmodal harmony (see Spence, 2015 , for a review of crossmodal Gestalt phenomena). 25 While analogous grouping principles may well be experienced in different sensory modalities, there is far more uncertainty over the question of whether it is even possible to experience intersensory, or multisensory, Gestalten ( Battey & Fischman, 2016 ; Zilczer, 2016 ; see Spence, 2015 , for a review). As we have just seen, the answer to this question will likely depend upon exactly what definition of harmony one is using.…”

Section: Discussionmentioning

confidence: 99%

Crossmodal Harmony: Looking for the Meaning of Harmony Beyond Hearing

Spence

Stefano

2022

i-Perception

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The notion of harmony was first developed in the context of metaphysics before being applied to the domain of music. However, in recent centuries, the term has often been used to describe especially pleasing combinations of colors by those working in the visual arts too. Similarly, the harmonization of flavors is nowadays often invoked as one of the guiding principles underpinning the deliberate pairing of food and drink. However, beyond the various uses of the term to describe and construct pleasurable unisensory perceptual experiences, it has also been suggested that music and painting may be combined harmoniously (e.g., see the literature on “color music”). Furthermore, those working in the area of “sonic seasoning” sometimes describe certain sonic compositions as harmonizing crossmodally with specific flavor sensations. In this review, we take a critical look at the putative meaning(s) of the term “harmony” when used in a crossmodal, or multisensory, context. Furthermore, we address the question of whether the term's use outside of a strictly unimodal auditory context should be considered literally or merely metaphorically (i.e., as a shorthand to describe those combinations of sensory stimuli that, for whatever reason, appear to go well together, and hence which can be processed especially fluently).

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Section: Discussionmentioning

confidence: 99%

Crossmodal Harmony: Looking for the Meaning of Harmony Beyond Hearing

Spence

Stefano

2022

i-Perception

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“…133–134). Disney’s Fantasia, with music conducted by Leopold Stokowski, can perhaps also be seen as a natural extension of the colour music movement (Pridmore, 1992), though a key strand of the emerging interest was linked to the notion of audiovisual Gestalten, which relied as much on synchrony as correspondence (see also Alves, 2005; Battey & Fischman, 2016; Corra, 1973; HaCohen, 2016; Haverkamp, 2020; Kaduri, 2016; Russet & Starr, 1988; Whitney, 1980). At the same time, however, it has also become increasingly clear that there is no straightforward structural or psychological mapping between this particular pair of senses.…”

Section: On the Artistic Exploitation Of The Crossmodal Correspondenc...mentioning

confidence: 99%

Coloured hearing, colour music, colour organs, and the search for perceptually meaningful correspondences between colour and sound

Spence

Stefano

2022

i-Perception

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There has long been interest in the nature of the relationship(s) between hue and pitch or, in other words, between colour and musical/pure tones, stretching back at least as far as Newton, Goethe, Helmholtz, and beyond. In this narrative historical review, we take a closer look at the motivations that have lain behind the various assertions that have been made in the literature concerning the analogies, and possible perceptual similarities, between colour and sound. During the last century, a number of experimental psychologists have also investigated the nature of the correspondence between these two primary dimensions of perceptual experience. The multitude of different crossmodal mappings that have been put forward over the centuries are summarized, and a distinction drawn between physical/structural and psychological correspondences. The latter being further sub-divided into perceptual and affective categories. Interest in physical correspondences has typically been motivated by the structural similarities (analogous mappings) between the organization of perceptible dimensions of auditory and visual experience. Emphasis has been placed both on the similarity in terms of the number of basic categories into which pitch and colour can be arranged and also on the fact that both can be conceptualized as circular dimensions. A distinction is drawn between those commentators who have argued for a dimensional alignment of pitch and hue (based on a structural mapping), and those who appear to have been motivated by the existence of specific correspondences between particular pairs of auditory and visual stimuli instead (often, as we will see, based on the idiosyncratic correspondences that have been reported by synaesthetes). Ultimately, though, the emotional-mediation account would currently appear to provide the most parsimonious account for whatever affinity the majority of people experience between musical sounds and colour.

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“…He discussed a series of examples using a range of approaches between these extremes with varying qualitative results. Battey and Fischman suggested a successful mix of correspondences and higher order intuitive alignment occur somewhere near the middle of the continuum[29].…”

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confidence: 99%