Crossmodal Correspondences: Four Challenges

Deroy, Ophelia; Spence, Charles

doi:10.1163/22134808-00002488

Cited by 43 publications

(28 citation statements)

References 101 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Such a set of criteria would open up new paths to compare linguistic descriptions for different modalities and to investigate the linguistic basis of cross-modal correspondences (e.g. Bremner et al, 2013;Deroy & Spence, 2016).…”

mentioning

confidence: 99%

Misconceptions About Colour Categories

Witzel

2018

Rev.Phil.Psych.

View full text Add to dashboard Cite

The origin of colour categories and their relationship to colour perception have been the prime example for testing the influence of language on perception and thought (Sapir-Whorf hypothesis) and more generally for investigating the biological, ecological and cultural determination of human cognition (nature-nurture debate). These themes are central to a broad range of disciplines, including vision research, neuroscience, cognitive psychology, developmental science, cultural anthropology, linguistics, computer science, and philosophy. Unfortunately, though, it has been tacitly taken for granted that the conceptual assumptions and methodological practices from the dawn of empirical research on colour categorisation are the gold standard for current colour category research. Here, we show that these assumptions and practices are obsolete and flawed and have led to four fundamental and widespread misconceptions about colour categorisation: 1.) that colour perception is inherently categorical; 2.) that English Basic Colour Terms correspond to universal categories that are the end point of a fixed evolutionary sequence; 3.) that the prototypes of English Basic Colour Terms are perceptually salient and qualify as focal colours; and 4.) that colour category research essentially revolves around the universalism-realism debate. State-of-theart research on colour categorisation provides new, more sophisticated approaches and allows for rectifying those four statements. At the same time, some of the questions underlying those statements are not convincingly answered yet and constitute major challenges to future research. The critical considerations on colour categorisation may be transferred to research on other kinds of perceptual categorisation to inspire new, more general research questions.

show abstract

mentioning

confidence: 99%

Misconceptions About Colour Categories

Witzel

2018

Rev.Phil.Psych.

View full text Add to dashboard Cite

show abstract

“…In the case of sensorimotor communication, an alternative to relying on action affordances could be relying on naturally occurring regularities in the physical and cultural environment. People exhibit consistent associations between stimuli features from different sensory modalities; for example, they consistently associate high-pitched sounds with small, bright, and sharp-edged objects (e.g., Hubbard, 1996;Marks, 1987Marks, , 1989; see also Deroy & Spence, 2016). These "crossmodal correspondences" (for a comprehensive review, see Spence, 2011) are based on natural statistical regularities (e.g., between the size of an object and its resonance frequency; Bee, Perrill, & Owen, 2000;Coward & Stevens, 2004), structural associations (e.g., between magnituderelated stimuli features such as size and loudness; Smith & Sera, 1992;Walsh, 2003), and semantically mediated associations (e.g., between auditory pitch and visual elevation; Martino & Marks, 1999; also see Walker & Walker, 2012).…”

Section: Discussionmentioning

confidence: 99%

When Height Carries Weight: Communicating Hidden Object Properties for Joint Action

et al. 2018

View full text Add to dashboard Cite

In the absence of pre‐established communicative conventions, people create novel communication systems to successfully coordinate their actions toward a joint goal. In this study, we address two types of such novel communication systems: sensorimotor communication, where the kinematics of instrumental actions are systematically modulated, versus symbolic communication. We ask which of the two systems co‐actors preferentially create when aiming to communicate about hidden object properties such as weight. The results of three experiments consistently show that actors who knew the weight of an object transmitted this weight information to their uninformed co‐actors by systematically modulating their instrumental actions, grasping objects of particular weights at particular heights. This preference for sensorimotor communication was reduced in a fourth experiment where co‐actors could communicate with weight‐related symbols. Our findings demonstrate that the use of sensorimotor communication extends beyond the communication of spatial locations to non‐spatial, hidden object properties.

show abstract

“…Light passes through the lens of the eye (crystalline) and is focused on the retina, where cells (cones -related to vision "in colour" when the luminosity is high, and rods -related to "black-and-white" vision in low light) convert light into electrical / neural impulses, which are sent to the brain through the optic nerve. The brain receives these impulses, processes them and interprets them as images of the objects seen [141]. The human eye can detect almost all gradations of colours when only red, green, and blue monochromatic lights are appropriately mixed in different combinations.…”

Section: Sightmentioning

confidence: 99%

“…Three different plating proposals were produced, each one transmitting different inputs according to it characteristics, as angularity is associated to acidity, roundness with sweetness and organic shapes enhance the natural features on the plate [141].…”

mentioning

confidence: 99%

Designing for the senses through food design and psychophysiology

Mota¹,

Mata²,

Vilaseca³

et al. 2018

Experiencing Food, Designing Dialogues

View full text Add to dashboard Cite

Nowadays there is a whole new approach to food and cooking. A meal involves a complex composition of textures, colours, shapes, tastes, aromas, flavours and sounds, resulting in gastronomical pieces which cause various sensations and emotions to consumers. Chefs should use knowledge from the areas of psychology, design, science, etc., and even work with professionals from these areas, as this interdisciplinary holistic approach, allows to achieve better results and improve sensory characteristics. Palavras-chave:Design de Alimentos; Psicofisiologia; Gastrofísica; Perceção Sensorial; Ergonomia; O prato seguinte, Drinkable Smoke, focado no sentido do cheiro está inspirado nas manhãs ensolaradas e na flora de uma floresta. Composto por tons claros e diferentes aromas terrosos. Óleo essencial de gengibre e de mandarina verde assim como ervas aromáticas, flores e especiarias foram aqui aplicados para enaltecer as características aromáticas. Carvão de pinho foi usado no processo de confeção e fumagem. O efeito da forma do recipiente em que um prato é servido na perceção de aroma e gosto foi VI avaliada tendo-se verificado que há uma influência significativa, particularmente na perceção do cheiro e do aroma. O estudo envolveu testes de análise sensorial com 33 empregados do restaurante El Celler de Can Roca, resultados obtidos foram sujeitos a uma análise estatística recorrendo aos programas IBM SPSS Statistic grad Pack 24 e XLstatics. A utilização de uma máquina fotográfica Flir termal T360, permitiu ainda obter registo térmico que foi relacionado com os resultados obtidos. Os resultados finais foram aplicados na conceção de duas peças de porcelana na Vista Alegre® a incluir na gama de Chefs' Collection. Os resultados foram apresentados na 1º Conferência Internacional em Food Design and Food Studies: Experiencing Food and Designing Dialogues [2].O prato principal focado na Audição aporta uma componente sonora: uma melodia de sons de floresta, água a correr, chilrear de pássaros, vento, brisa e ramos a partir. Relembra uma floresta, com flores, ervas, ramos de 100% chocolate preto, um rio, orvalho e humidade de uma floresta, mini vegetais e trufa preta.O seguinte prato do menu, Greenly Fresh, é focado no sentido do Gosto e é um limpa palato em que foram aplicados os conhecimentos descritos sobre como aumentar a eficiência deste tipo de preparações. Os sentidos, especialmente o paladar, tornam-se facilmente saturados e é importante aliviar e acorda-los de novo. Dado o conceito base, relacionado com os bosques, este prato representa a vegetação verde e os sabores ácidos. No design deste prato a psicologia da cor e a correspondência modal cruzada aforam consideradas. O último prato do menu, Beet Grains, é focado no sentido do Tato e foi concebido considerando as correspondências intermodais ou outros efeitos no nosso sistema somatossensorial. O elemento base é a beterraba, e representa o pôr do sol na floresta com cores como o roxo e vermelhos naturais conferidos pelas betalaínas. Cada um dos 15 elementos que a compõem pos...

show abstract

Crossmodal Correspondences: Four Challenges

Cited by 43 publications

References 101 publications

Misconceptions About Colour Categories

Misconceptions About Colour Categories

When Height Carries Weight: Communicating Hidden Object Properties for Joint Action

Designing for the senses through food design and psychophysiology

Contact Info

Product

Resources

About