Learned color taste associations in a repeated brief exposure paradigm

Higgins, Molly J.; Hayes, John E.

doi:10.1016/j.foodqual.2018.08.013

Cited by 29 publications

(29 citation statements)

References 53 publications

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“…Perhaps the most parsimonious explanation for the ubiquity of colour-taste correspondences is in terms of the internalization of the crossmodal statistics of the environment (e.g., Barlow, 2001;Ernst, 2007). There is, for example, evidence from both adults (Higgins & Hayes, 2019) and also 4-month-old babies (Reardon & Bushnell, 1988) that, regardless of their age, people rapidly pick up novel associations between colours and basic tastes. It would certainly seem unlikely that we have developed hardwired associations between specific colours and particular tastes, given the changing association between taste/flavour and colour both across cultures, and over the course of history (e.g., Hisano, 2019;Woolgar, 2018; see also Wilson, 1991).…”

Section: Internalizing the Crossmodal Statistics Of The Environmentmentioning

confidence: 99%

Explaining Crossmodal Correspondences Between Colours and Tastes

Spence

Levitan

2021

i-Perception

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For centuries, if not millennia, people have associated the basic tastes (e.g., sweet, bitter, salty, and sour) with specific colours. While the range of tastes may have changed, and the reasons for wanting to connect the senses in this rather surprising way have undoubtedly differed, there would nevertheless appear to be a surprisingly high degree of consistency regarding this crossmodal mapping among non-synaesthetes that merits further consideration. Traditionally, colour–taste correspondences have often been considered together with odour–colour and flavour–colour correspondences. However, the explanation for these various correspondences with the chemical senses may turn out to be qualitatively different, given the presence of identifiable source objects in the case of food aromas/flavours, but not necessarily in the case of basic tastes. While the internalization of the crossmodal statistics of the environment provides one appealing account for the existence of colour–taste correspondences, emotional mediation may also be relevant. Ultimately, while explaining colour–taste correspondences is of both theoretical and historical interest, the growing awareness of the robustness of colour–taste correspondences would currently seem to be of particular relevance to those working in the fields of design and multisensory experiential marketing.

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Section: Internalizing the Crossmodal Statistics Of The Environmentmentioning

confidence: 99%

Explaining Crossmodal Correspondences Between Colours and Tastes

Spence

Levitan

2021

i-Perception

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“…Indeed, one might consider the crossmodal associations between colour and basic taste, or flavours, in much the same light [100,135]. That is, people may well associate a pinkish-red colour with sweetness not because they perceive the component stimuli to be similar, but rather because, in the absence of any other information, they expect pinkish-red foods to taste sweet, as a result of a learned association [101,[135][136][137]. It is an open question as to whether such crossmodal predictive coding [138,139] should necessarily be labelled as a kind of crossmodal correspondence or not.…”

Section: Pairing Of Music and Food/beverage Stimuli Based On Perceivementioning

confidence: 99%

Multisensory Flavour Perception: Blending, Mixing, Fusion, and Pairing within and between the Senses

Spence

2020

Foods

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This review summarizes the various outcomes that may occur when two or more elements are paired in the context of flavour perception. In the first part, I review the literature concerning what happens when flavours, ingredients, and/or culinary techniques are deliberately combined in a dish, drink, or food product. Sometimes the result is fusion but, if one is not careful, the result can equally well be confusion instead. In fact, blending, mixing, fusion, and flavour pairing all provide relevant examples of how the elements in a carefully-crafted multi-element tasting experience may be combined. While the aim is sometimes to obscure the relative contributions of the various elements to the mix (as in the case of blending), at other times, consumers/tasters are explicitly encouraged to contemplate/perceive the nature of the relationship between the contributing elements instead (e.g., as in the case of flavour pairing). There has been a noticeable surge in both popular and commercial interest in fusion foods and flavour pairing in recent years, and various of the ‘rules’ that have been put forward to help explain the successful combination of the elements in such food and/or beverage experiences are discussed. In the second part of the review, I examine the pairing of flavour stimuli with music/soundscapes, in the emerging field of ‘sonic seasoning’. I suggest that the various perceptual pairing principles/outcomes identified when flavours are paired deliberately can also be meaningfully extended to provide a coherent framework when it comes to categorizing the ways in which what we hear can influence our flavour experiences, both in terms of the sensory-discriminative and hedonic response.

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“…Other psychophysical data in humans also suggest that bitter stimuli can be differentiated based on their temporal [3,8,9] and regional perception [4,10]. However, in a learning task designed to condition participants to associate a taste (i.e., one sweet, three bitter) with a specific color cue, participants were only able to associate the sweet sample significantly above chance; that is, there was no evidence for discrimination between the bitterants in a brief conditioning paradigm [11]. Collectively, these mixed findings suggest a need for additional research to investigate the possibility of multiple bitter percepts in humans.…”

Section: Introductionmentioning

confidence: 99%

Discrimination of Isointense Bitter Stimuli in a Beer Model System

Higgins

Hayes

2020

Nutrients

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Prior work suggests humans can differentiate between bitter stimuli in water. Here, we describe three experiments that test whether beer consumers can discriminate between different bitterants in beer. In Experiment 1 (n = 51), stimuli were intensity matched; Experiments 2 and 3 were a difference from control (DFC)/check-all-that-apply (CATA) test (n = 62), and an affective test (n = 81). All used a commercial non-alcoholic beer spiked with Isolone (a hop extract), quinine sulfate dihydrate, and sucrose octaacetate (SOA). In Experiment 1, participants rated intensities on general labeled magnitude scales (gLMS), which were analyzed via ANOVA. In Experiment 2, participants rated how different samples were from a reference of Isolone on a 7-point DFC scale, and endorsed 13 attributes in a CATA task. DFC data were analyzed via ANOVA with Dunnett’s test to compare differences relative to a blind reference, and CATA data were analyzed via Cochran’s Q test. In Experiment 3, liking was assessed on labeled affective magnitude scales, and samples were also ranked. Liking was analyzed via ANOVA and rankings were analyzed with a Cochran–Mantel–Haenszel test. Experiment 1 confirmed that samples were isointense. In Experiment 2, despite being isointense, both quinine (p = 0.04) and SOA (p = 0.03) were different from Isolone, but no significant effects were found for CATA descriptors (all p values > 0.16). In Experiment 3, neither liking (p = 0.16) or ranking (p = 0.49) differed. Collectively, these data confirm that individuals can discriminate perceptually distinct bitter stimuli in beer, as shown previously in water, but these differences cannot be described semantically, and they do not seem to influence hedonic assessments.

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Learned color taste associations in a repeated brief exposure paradigm

Cited by 29 publications

References 53 publications

Explaining Crossmodal Correspondences Between Colours and Tastes

Explaining Crossmodal Correspondences Between Colours and Tastes

Multisensory Flavour Perception: Blending, Mixing, Fusion, and Pairing within and between the Senses

Discrimination of Isointense Bitter Stimuli in a Beer Model System

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