The Meanings of Color

Wright, Benjamin D.; Rainwater, Lee

doi:10.1080/00221309.1962.9711531

Cited by 154 publications

(113 citation statements)

References 15 publications

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“…3A), accounting for 95% of the variance (stress = 0.08). Consistent with previous studies of color-emotion associations (22)(23)(24), the two emotional dimensions were interpretable as positive/negative valence (happy/ sad) and high/low potency (strong/weak). Average happy/sad ratings were correlated +0.93 with the coordinate values of the colors along dimension 1 in Fig.…”

Section: Experiments 1 Color Music and Emotionsupporting

confidence: 75%

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Music–color associations are mediated by emotion

Palmer

Schloss

et al. 2013

Proc. Natl. Acad. Sci. U.S.A.

310

291

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Experimental evidence demonstrates robust cross-modal matches between music and colors that are mediated by emotional associations. US and Mexican participants chose colors that were most/least consistent with 18 selections of classical orchestral music by Bach, Mozart, and Brahms. In both cultures, faster music in the major mode produced color choices that were more saturated, lighter, and yellower whereas slower, minor music produced the opposite pattern (choices that were desaturated, darker, and bluer). There were strong correlations (0.89 < r < 0.99) between the emotional associations of the music and those of the colors chosen to go with the music, supporting an emotional mediation hypothesis in both cultures. Additional experiments showed similarly robust cross-modal matches from emotionally expressive faces to colors and from music to emotionally expressive faces. These results provide further support that music-to-color associations are mediated by common emotional associations.color cognition | cross-modal associations | music cognition | emotion mediation hypothesis R esearchers have attempted to identify systematic links between music and color. Perhaps the most direct connection comes from the fascinating phenomenon of music-color synesthesia (1-4). A small minority of individuals, including some distinguished artists (e.g., Kandinsky and Klee) and musicians (e.g., Scriabin and Rimsky-Korsokov) report diverse cross-modal experiences of color while hearing musical sounds (1). Scientific studies initially failed to establish general correspondences because synesthetic sound-to-color mappings appeared idiosyncratic (3).Nonsynesthetic people also have music-to-color associations but do not actually experience colors while hearing music. Relatively low-level sound-to-color associations-e.g., higher pitches being associated with lighter colors (2, 5-7)-appear to hold for both synesthetes and nonsynesthetes (1). Reliable pitch-hue associations have been reported in children (8) although these effects were probably due to lightness, where spectral yellow and green (lightest) were associated with higher pitches, red and orange (midlightness) with midlevel pitches, and blue and violet (darkest) with lower pitches. There is evidence for other low-level auditory-visual associations such as timbre-saturation (9), loudness-brightness (7), and pitch-size (10, 11) [Spence (12)].Other studies have investigated music-color correspondences at a higher level. Bresin found that music in the major mode was associated with lighter colors than music in the minor mode (13), but only two melodies were studied. Sebba reported that students used warmer, more saturated, lighter, and more highly contrasting colors in creating images while listening to a major Mozart selection than did students listening to a minor Albinoni selection (14). Again, only two musical selections were used, and students chose the musical selections rather than being randomly assigned, so students who are more inclined to choose major music may merely b...

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Section: Experiments 1 Color Music and Emotionsupporting

confidence: 75%

“…3, and strong/weak ratings were correlated + 0.93 with the coordinate values of the colors along dimension 2. Similar dimensions are frequently obtained in MDS solutions of many other emotional stimuli (22,23,25,26). We obtained similar results when the corresponding Mexican ratings were scaled in the same way.…”

Section: Experiments 1 Color Music and Emotionsupporting

confidence: 71%

Music–color associations are mediated by emotion

Palmer

Schloss

et al. 2013

Proc. Natl. Acad. Sci. U.S.A.

310

291

View full text Add to dashboard Cite

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“…Although a number of studies attempt to attribute emotional semantics to particular colour ranges, there is little general consensus except for a few special cases (such as expressions of anger, or sadness) [Pickford 1972]. Rather, Wright and Rainwater [1962] have found the notion of happiness (pleasantness) to be primarily dependent on colour brightness (luminance), and to a lesser degree on saturation. Intuitively arousal corresponds to colour saturation, but can also be linked to hue.…”

Section: Tonal Variation (P 2 = P (T))mentioning

confidence: 99%

Empathic painting

Shugrina

Betke

Collomosse

2006

Proceedings of the 4th International Symposium on Non-Photorealistic Animation and Rendering

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We present the "empathic painting" -an interactive painterly rendering whose appearance adapts in real time to reflect the perceived emotional state of the viewer. The empathic painting is an experiment into the feasibility of using high level control parameters (namely, emotional state) to replace the plethora of low-level constraints users must typically set to affect the output of artistic rendering algorithms. We describe a suite of Computer Vision algorithms capable of recognising users' facial expressions through the detection of facial action units derived from the FACS scheme. Action units are mapped to vectors within a continuous 2D space representing emotional state, from which we in turn derive a continuous mapping to the style parameters of a simple but fast segmentation-based painterly rendering algorithm. The result is a digital canvas capable of smoothly varying its painterly style at approximately 4 frames per second, providing a novel user interactive experience using only commodity hardware.

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“…Adam & Osgood [71] investigate the 8 color concepts of Osgood's Atlas -color (vs monochrome), white, grey, black, red, yellow, green, and blue-among 20 countries and report that for instance, the relative affective meaning of red is strong and active. Another similar attempt belongs to Wright & Rainwater [72], yet with a more visual communication language perspective in color meanings and connotations. This is where a set of more professional color semantics such as "elegant" or "showiness" is emerging.…”

Section: Color Meanings and Semanticsmentioning

confidence: 99%

Quantifying Aesthetics of Visual Design Applied to Automatic Design

Jahanian

2016

Springer Theses

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The Meanings of Color

Cited by 154 publications

References 15 publications

Music–color associations are mediated by emotion

Music–color associations are mediated by emotion

Empathic painting

Quantifying Aesthetics of Visual Design Applied to Automatic Design

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